DANCE- India

Triad of gods & relationship to dance

"In India, the gods dance" - The "dancing body" plays an important role in religious worship. - - Each God is vital to the themes of dance with regard to story, form, quality and purpose.

18th and 19th centuries features of the dance

- 18th and 19th centuries, plays were performed outside of temples -Stories from Hindu epics -Patronage from rulers, educated landowners -Codification based on Natya Shastra -People of any caste could see them -Form of dance-drama: "religious in content, classical in form, popular in appeal" -By the 20th century, a form of dance-drama had developed. -Changing economic conditions made it hard for aristocratic patrons to support Kathakali. -British influences led them to look down upon Kathakali as a sort of "primitive dumb-show"

• Brahma: the one Creator of all

- Brahma gave the Natya Shastra as the sacred text of dance to Bharata. - Natya Shastra is called the fifth veda or bible. - The old sage Bharata was the receptor of the sacred text and one of the dance forms of India refers to his name.

Kerala Kalamandalam

-Students begin at the academy at age 11 or 12, and study for at least six years. -They receive daily martial arts training in Kalaripayat, a 100 year old martial art form. • Basis in breath and centering of actions in the lumbar region -Carefully graded system within moral contexts. -Physical discipline, unlike in the west, is seen as a prerequisite to mental and spiritual discipline. -Kalari -- space for training -Kathakali is the most physically demanding Indian dance form; some performers continue into their 60s.

17th century features of the dance

17th century -- neighboring kings organized rival troupes to perform devotional plays - - Poetic verses in Malayalam, rather than Sanskrit - Poetry recited by two singers - Musical accompaniment by two drummers - All-male performers communicate sense of poetry through mimetic movement

Menon

1930 -- Kerala Kalamandalam Academy was established by poet Vallathol Naryana Menon to assure that the Natya Shastra standards be upheld for future audiences. Menon helped to revive the art of Kathakali by opening a school for the instruction and preservation of the art form.

Hinduism

A religion and philosophy developed in ancient India, characterized by a belief in reincarnation and a supreme being who takes many forms - Ancient and varied tradition of religious inquiry and experience "A tradition of multiculturalism that embraces many sects whose differing approaches to divinity vary in both form and object of their devotions.' (Jonas, 56) - Unity of existence All pieces must fit together into a satisfying whole. Body as a tool for achieving spiritual insight and understanding

Abhinaya: 4 Techniques:

Abhinaya: 4 Techniques: - Angik - body gestures- Vachik - poetry, song, music, rhythm, recitation - Aharya - costume, make-up, jewelry - Satvick - physical manifestation of mental/emotional states

Ottan Tullal

An Ottan Tullal performance outside a village temple near Trichur, Kerala, October 1991. "This one-man show blends elements of Kathakali and even older dance-dramas into a form of popular entertainment." (Jonas, 68)

Balasaraswati

Balasaraswati, with a career that lasted over forty years, is regarded as one of the key figures in the revival of Indian dance. She was said to be able to dance one line of a poem or song many, many different ways - each with a different interpretation.

performance and movement of dance

Basic stance -- knees bent, back slightly arched, walking on sides of feet − Feeling of alert tension All movements emanate from this stance Acrobatic leaps, spiral turns, vigorous leg extensions Elaborate sign language -- 24 primary mudras can combine to create more than 800 meanings On stage, actors don't make a sound -- all is conveyed through movement and facial expressions

Bhagavata

Bhagavata -- exploits of Krishna - Bharata natyam frequently interprets these stories

Bharata Natyam

Bharata Natyam is a classical Indian dance that originates from southern India. It is believed to be one of India's oldest classical dances, dating back more than 2,000 years. It originated in the state of Tamil Nadu, and spread throughout the region. - Temple dances of South India are the direct link to the Natya Shastra and to the old sage Bharata. Typically female dancers perform this form in the temple setting.

Triad of Gods

Brahma - Supreme eternal deity whose essence pervades the entire universe; Vishnu - Preserver, who rescues the world when it is threatened; Shiva - God of creation and destruction.

Devadasis

Devadasis are dedicated trained dancers whose role is as a spiritual offering and voice of deities. The devadasi is also responsible for cleaning and maintaining the statues of the deities in the temple. Late nineteenth century -- reputation reached an all-time low British influence - 1927 -- campaign to ban temple dancing -Early 20th century -- resurgence -Sadir -Rukmini Devi - Founded the school, Kalakshetra, Madras, 1934.

Eastern vs. Western Dance Forms

Difference in development - West -- progress - East -- art remains within the framework of the traditional form. • Attitude toward space - West -- "conquest of space" - East -- spatial form integrated into overall dance pattern. Eastern forms -- Detailed articulation of body positions and facial expressions Language of hand gestures, mudra.

Expression is conveyed through:

Expression is conveyed through: - Mudra - language of gesture - Facial expressions - Body movements and postures, called karanas

Men & women in Bharata Natyam

In Bharata Natyam, men perform male roles with women in the theatrical settings. The women are called Devadasis - servants, or brides of god Moral reputation varied.

Kathakali makeup and costume

In Kathakali dance, bright colors are significant to the characters'spirit and mood. Performers use facial prosthetics to add size and dimension to their characterizations. A bell shaped skirt is an important part of the costume. - The color of the make-up helps to define the central character of each figure. - Red eyes: Crushed seed rubbed into eyes - Pale green face: refined, serene (usually for gods, kings, or heroes) - Male characters: long silver fingernails - Green with red stripes and black faces, often with red beards, knobby noses, and white mustaches(usually evil, vicious characters)

Comparison to Yoruba culture

In Yoruba culture, there are two realms of existence. But Hinduism "suggests that the two realms are in essence one, and that one of the ways to affirm the underlying unity of existence is through dance."

Kathakali dance-drama:

Is a narrative about deities and warriors Is often a lengthy event held at night by torchlight. Has a starting curtain that is quickly pulled away to signify the start of the performance. Uses an elaborate set of gestures (mudras) that are different than those used in Bharata Natyam. In Kathakali dance, the performers are traditionally men. Men even play the female character roles

Kalakshetra

Kalakshetra is the school founded by Rukmini Devi in 1934. The school provides training in Bharata Natyam dance and music.

venues and settings

Kathakali dance may be performed in different venues. Where and for whom the Kathakali dance is performed influence its appearance (i.e., staging, costuming, dance gestures, etc.). By day, at a very public gathering, the Kathakali dance can be less formal. By night, in a more exclusive gathering, it is often more reserved and relies more on hand gestures.

Kathakali dance history

Kathakali dances originated in an area of India known as the Malabar Coast. The Malabar Coast (indicated by the gold line) extends down along the southern part of the western shoreline of India, as shown in the map below. It runs from the state of Goa southward, and includes most of the states of Kerala and the coastal region of the state of Karnataka. Kathakali is representative of Kerala culture. - Kathakali dates to the 17th century and serves as a fusion of ancient cultures with period religious and warrior stories. Its origin is of royal patronage.

Krishna

Krishna,"the Blue God," and the incarnation of Vishnu (the protecting god) is represented as playing the flute. This dance and music helps to transform the soul. In the bottom image, Krishna is shown with a concert flute. Appears before the Gopi maidens, who dance in a circular chain around Krishna, their chosen beloved.

Mahabarata

Mahabarata - approx. 100,000 stanza poem, story of the Pandava brothers

Hindu Dance-Drama purpose (think emotional)

Purpose is accomplished by arousing certain emotional states Eight "universal emotions", or rasas:- Love, humor, pathos, anger, heroism, terror, disgust, and wonder Ninth rasa -- serenity. Rasika -- knowledgeable spectator

Ramayana

Ramayana -- exploits of Rama, an incarnation of Vishnu

Rukmini Devi

Rukmini Devi is another key figure in the revival and forward progress of Indian dance. Established Kalakshetra in Madras in 1934, the arts school where support and education could be found for the performing artists of Bharata Natyam. - Catered to upper and middle class women Gave the name "Bharata Natyam" to the dance form previously called Sadir

Shiva

Shiva, the God of creation and destruction, is worshipped throughout India, and is often seen in the classical representation of Nataraja, Lord of the Dance. - "In an eternal dance within a ring of fire, Nataraja holds a Drum, in one hand, that symbolizes the sound that kindles creation ... In another hand, 'a ball of flame, which symbolizes destruction & renewal ... The right leg, bent at the knee, crushes the Demon of Ignorance into the ground, while the left leg, lifted and "swung across the body", 'signifies the release from worldly cares that dancing gives its devotees. (Jonas)

The Natya Shastra

The Natya Shastra (3rd century A.D.) established norms of theory and practice for communicating through dance/drama.

The Surya Deul Temple

The Surya Deul Temple is one of the temples in India that features many sensual sculptures. This temple honors Surya, god of the sun.

Bharata Natyam perceptions

The condition of the art of this dance had suffered in the nineteenth century as the domain of prostitutes. The imperial control of India by Great Britain (in the Victorian era) aided in the decline of the art. Rukmini Devi and Balasaraswati helped to change this condition. Through their fine example and dedication to dance these two women helped to raise Bharata Natyam to the status of a national treasure. They also helped to establish a higher regard for other dance forms in India as well.

features of Bharata Natyam

Usually theatrical setting Costume -- silk and gold sari, leggings, fan- pleated apron, edges of feet outlined in red Bells around ankles Jewelry around head, neck ears, nose, wrists Sculpturesque quality Poses convey sense of timelessness

Kathakali: "Story Play"

• Heritage traced to tradition of Sanskrit plays in temples in Kerala along Malabar coast - Borrows from India's mythological literature • Mahabarata • Ramayana