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Kuchipudi, the classical dance style of Andhra Pradesh, is accepted as a solo dance but evolved from the dance-drama tradition of Bhagaveta Mela Natakam. Stories from Hindu mythology, particularly Vaishnava Sampradaya (cult of Lord Vishnu), are interpreted through the medium of stylized and rhythmic movements, typical hasta mudras (hand gestures) and expressional dancing. Kuchipudi lays equal emphasis to elegance and vibrant movements and is performed by both men and women.

Evolution and history

The word Kuchipudi comes from the village Kuchelapuram in Krishna district of Andhra Pradesh. The Sanskrit word Kusilava-puram refers to the village of actors, travelling bards or dancers. The authoritative text of dance and dramaturgy, written by Bharata Muni, known as Natya Sastra with 6,000 verses in 36 chapters, studied version, evolved during 500 BCE to 500 CE, that mentions the graceful movements known as Kaishiki Vritti. Pre-2nd century text calls one raga (musical melody) as Andhri (Andhra), related to Gandhari Arsabhi. The 1st milllenium Sanskrit text by Bruna Nettle credits its origin to 3rd century.

The copper inscriptions, from 10th to 15th century of Machupalli kaifat refers to Kuchipudi dance. According to Manohar Varadpande, Kuchipudi emerged in the late 13th century during the reign of the Ganga rulers of Kalinga; however, the dancers enjoyed royal patronage during the reign of King Krishnadevaraya in the Vijayanagara empire.

In 1678, the last Shia Muslim Sultan of Golkonda, Abul Hasan Qutub Shah, gifted the Kuchipudi village to the dancers, as he was impressed with their brilliant performance; however, during the reign of Aurangzeb, he was completely against arts and artistes and destroyed the musical instruments, too. The British, too, did not approve of classical dancers and performing art forms suffered a setback.

Pioneer mentors and technique

The foremost pioneers were Vedantam Lakshminarayana Sastri (1886-1956), Vempatti Venkataramaya Sastri and Chinta Ventaramayya Sastri. Prior to the Bhagavata nataka tradition, dancers interpreted stories related to Shaivism and were known as Brahmana Melas. According to the tradition, Natttuva Melas pertained to the invocatory Puja dance and the Kalika dance in the Kalyana mandapa, the Natya Mela pertained to ritual dances, Kalika dance for intellectuals and Bhagavatam for commoners.

Teertha Narayana Yati, who wrote the Krishna Leela Tarangani, was a sanyasin (sage) of the Advaita Vedanta and his disciple Siddhendra Yogi founded the systematised version in the 17th century. He also induced young Brahmin boys to take up Kuchipudi dance as he felt that if females danced, the purity of the dance will be affected.

Vempatti Chinna Satyam further refurbished the Kuchipudi dance and placed it on the international map. The technique is similar to Bharata Natyam but unlike Bharata Natyam, Kuchipudi dancers are quite light footed with spring-like and bouncing movements that differs in the style of presentation.

Performance and music

Bhama Kalapam, an extract from Krishna Leela Tarangani, forms the mainstay of the Kuchipudi repertoire, besides Golla Kalapam of Ramiah Sastri which is an ethical satire between the Gopis and the Brahmins. Kritis of Tyagaraja and Padams of Kshtreyya, etc., are also part of the performance.

American Esther Sharman, renamed as Ragini Devi, whose daughter Indrani Bajpai or Indrani Rehman, and Yamini Krishnamurti, are among the foremost exponents. Leading exponents, Raja Radha and Kausalya Reddy, Swapna Sundari, Sobha Naidu, Vyjayanthi Kashi, Jayarama and Vanashree Rao, Narasimha Chari, Anuradha J., and young brilliant dancers including Yamini and Bhavana Reddy, Prateeksha Kashi, Avijit Das, Alekhya Punjala, etc.

Traditionally a Kuchipudi performance commences with invocations to Lord Ganesha, Lord Nataraja and Goddess Parvati, while paying salutations; the dancer also receives blessings for the successful performance without any hindrance whatsoever. After the Jatiswaram is performed which is a fine combination of music, melody and rhythm, interwoven with jatis, the display of rhythmic complex patterns of varied movements, followed with the Sabdam, Padam, Varnam, another Padam or Bhajan and finally the Thillana or the Tarangam which is the dance on the rim of the brass plate.

Performances are solo and dance dramas like Rukmini Kalyanam or Sreenivasa Kalyanam and other dramas pertaining to Lord Shiva, Rama, Kartikeya and Ganapati are also enacted and presented.

It was believed that if you have to please Lord Krishna, you have to don female attire at least once. During the 19th century, females were barred from performing Kuchipudi. Hence the tradition developed wherein male dancers attired like females, interpreting both masculine and feminine characters.

One of the mainstays of the Kuchipudi repertoire is the interpretation of Bhama Kalapam or the story of Satyabhama. Satyabhama, like other women, was in love with Krishna; she was a royal and beautiful lady but arrogant. Krishna wanted to teach her a lesson, hence asked her as to who was more beautiful, Satyabhama or Krishna. As expected, Satyabhama claimed that she was the most beautiful woman. Krishna argued with her and angrily drifted away. Satyabhama realised her mistake and asked for forgiveness. Bhama Kalapam is an extract from Krishna Leela Tarangani written by saint composer Narayana Teertha.

It is interesting to narrate here one of the Kuchipudi performances rendered by the renowned and dynamic Yamini Krishnamurti. She was interpreting the number Swami Ra Ra (Please come, My Lord) wherein the dancer as the heroine requests the Lord to come as soon as possible as she is unable to bear the pangs of separation. While interpreting this number with large expressive eyes, a Sardarji went up to the stage. The dancer responded, saying: "I am calling my Swami, My Lord, you are not He!"

Credit : Guru Vijay Shanker (The Teenager Today)

Picture Credit : Google

Odissi is one of the most elegant classical dance styles of India based on the feminine style of dancing known as Lasya, hailing from Orissa. Prevailing for more than 2,000 years, evidence proves that Odissi existed in the 2nd century, but over the centuries went through various stages of both progression and regression like other classical dances of India. Through the medium of varied movements and expressions, different stories of Hindu mythology are portrayed, particularly Vaishnavism. Nevertheless, stories from other religions are also interpreted in Odissi. Hence, Odissi is a fine representation of secularism and spiritualism.

Evolution and History

Odishee (original name) archeological sites related to Hinduism, Buddhism and Jainism and the carvings of dance and music in the Manchapuri Cave in Udayagiri, reveal that Odissi existed in the 1st to 2nd century during the reign of Jain king Kharavela. Hathigumpha inscriptions further ascertain the fact of the existence of this lyrical and graceful classical dance of India.

The "Shilpa prakasha", Odia architecture and sculptures at the Lord Jagannath Temple, the Konark Temple with a "nritya mandapa", the Brahmeshwara temple in Bhubaneshwar, are other evidences of the Odissi form. The 8th century saw the emergence of the saint composer and philosopher Shankaracharya, and in the 12th century, the saint-composer Jayadeva wrote the immortal classic Geet Govinda which is considered the mainstay of Odissi repertoire.

Odissi dancers were referred to as Maharis (devadasis). The dancers used to perform inside the sanctum sanctorum of the temple and there were other dancers who danced in the temple courtyards and further moved on to rich landlords and palaces, hence the degradation of dance started for which not only the dancers but also the society is responsible. Alongside, the traditional emergence of Gotipua (boy dancers) prevailed wherein young boys danced dressed as girls.

Technique and music

Like other classical dance styles, Odissi is also based on the text of dance and dramaturgy, Bharata Muni's Natya Sastra and Nandikesvaroa's Abhinaya Darpana. Natya Sastra mentions four vrittis (methods of expressive delivery) in vogue like Avanti, Dakshinatya, Panchali and Odra-Magadhi. Odra refers to Odissi. The Odissi technique comprises various bhangas (symmetry body bends), torso deflections and hand movements. It all starts, with the chauka (basic stance) followed by other movements in different rhythmic beats. Broadly, Odissi can be divided into two sections: movements known as pure dance and abhinaya (expressional dancing). Students start learning at an early age as it is not easy to master this art of geometrical symmetry and stylized movements.

Classical and folk music with Odia lyrics forms the music with raags like Kalyana, Nata, Baradi, Karnata, Bhairavi, Saveri, etc., are used. Musical composers like Jayadeva, Dinakrisha Dasa, Kabi Samrata, Upendra Bhanja, Banmali Dasa and Kavichandra Kalicharan Patnaik form the mainstay of the Odissi repertoire.

The performance normally begins with an invocation to Lord Jagannath known as Mangalacharan, followed with a rhythmic pure dance item known as Pallavi, a fine combination of rhythm, music and melody, Abhinaya numbers like Dashaavataram, Ashtapadis from Geet Govinda, and finally Moksham, that symbolises the union of the human soul (jeevatma) with divine soul (parmatma).

Pioneer mentors and repertoire

The pioneer mentors of Odissi are Kelucharan Mohapatra, Gangadhar Pradhan, Pankaj Charan Das and Raghunath Dutta, top dancers like Sanjukta Panigrahi, Sonal Mansingh, Ragini Devi, placed Odissi on the international platform followed with Dr Priyambada Mohanty, Laxmipriya Mohapatra and Kum Kum Mohanty and Kasturi Pattnaik further enhanced the repertoire by increasing the numbers with new choreographic items. Sharon Lowen from America and Illeana Citaristi from Italy are recognized as devoted performers.

Some of the professional dancers from Mumbai are Jhelum Paranjape, Daksha Mashruwala, Shubhada Varadkar and Debi Basu. Young talented dancers include Madhur Gupta, Vinod Kevin Bachan (disciple of Padmashri Ranjana Gauhar), Ankur Balal and Debasis Patnaik.

Credit : Guru Vijay Shanker (The Teenager Today)

Picture Credit : Google

DANCE

Energetic or graceful, dancers use athletic skill and flexibility to perform a series of movements, often in time to music. Dancing is a form of expression that may be a type of performing art, part of a special ritual, or a fun social activity. The earliest dancers used movement to worship gods and spirits and to act out stories. In performances, dancers often follow a pre-planned series of steps and movements devised by a choreographer.

BALLET: Ballet is a theatrical dance with graceful moves. Dancers undergo rigorous training and wear special hard-toed ballet shoes in order to dance en pointe - on the tip of their toes.

DISCO: In the 1970s, pop songs with strong dance beats ruled the airwaves and people gathered in clubs to disco dance. Some dances had set steps; others were created by the dancers themselves, perhaps inspired by the film Saturday Night Fever.

CHINESE DRAGON DANCE: In this ceremonial dance, dating back to the Han Dynasty (206 BCE-220 CE), a team of performers carries a colourful dragon, held up with poles. They lift and lower the poles to make the dragon dance. This dance is a key part of Chinese New Year celebrations.

BHARATANATYAM: In ancient times, Hindu temple dancers in south India performed a set of moves and postures to tell the stories of the gods. These evolved into the Bharatanatyam dance style. In this dance, certain poses - especially hand gestures -are held to represent different meanings.

TANGO: This dramatic dance for couples began as a street dance in Argentina and Uruguay during the mid-1800s. With hands tightly clasped, dancers either face each other, or look in the same direction, as they move to the beat. Tango is also the name for the music associated with the dance.

CAN-CAN: This high-kicking, cartwheeling dance began in Paris in the 1830s, and was originally for couples. French dance troupes soon took up the can-can in music halls, where chorus lines of girls performed the energetic dance.

TRIBAL DANCE: These traditional African dances, often performed to the beat of a drum, are important parts of many ceremonies, both joyful (weddings and coming-of-age celebrations) and sad (funerals). Tribal dances help to unite and uplift the community.

LIMBO: The limbo was created in the Caribbean Islands. Performers have to dance under a horizontal pole without touching it or losing their balance. The pole is lowered after each round until one limbo champion dancer remains.

FLAMENCO: With its roots in small villages of the Andalusia region in Spain, flamenco is a passionate style of music and dance with a strong, powerful rhythm. Dancers click their fingers and stamp their feet to match the drama of the guitar music.

Picture Credit : Google