WHICH ARE THE POPULAR DANCE FORM AROUND THE WORLD?

From kathkali to salsa, a dance form is an expression of a country’s culture and heritage. Let’s take a look at some unique dance traditions from across the globe.

BALLET: Said to have originated during the 15th century's Italian Renaissance, it later developed into a concert dance form in Russia and France. Did you know that one ballet performance can take over 5,000 hours of practice, and that ballerinas are as strong as football players? The most widely recognised or most famous ballet is Tchaikovsky's The Nutcracker.

KABUKI: A classical form of dance-drama, it is one of Japan's important traditional arts. It is said to to have originated in the early Edo period, when founder Izumo no Okuni formed a female dance troupe that performed dances and light sketches in Kyoto. However, it developed into its present, all-male theatrical form after women were banned from performing in kabuki theatre in 1629. In 2005, UNESCO declared kabuki theatre as an intangible heritage.

THE FLAMENCO: An art-form based on southern Spain's various folkloric music traditions, in 2010, it was declared by UNESCO as Masterpieces of the Oral and Intangible Heritage of Humanity. Palmas, or rhythmic hand-clapping, is an important aspect of the art-form, and is of two types - Palmas Abiertas and Palmas Sordas, which use different parts of the hand to produce different sounds.

KATHAKALI: A story-play genre of art which originated in Kerala, India, it stands out due to its elaborate, colourful make-up, costumes and face masks that the performers don. Its traditional themes include legends, spiritual ideas from the Hindu Puranas and epics, and folk stories. Several aspects and elements of the art-form are said to have been taken from ancient Hindu texts including Bharata Muni's Natya Shastra.

BALINESE DANCE: Extremely expressive and dynamic, it is an ancient dance tradition that is part of the religious and artistic expression among the Balinese people of Bali Island. It incorporates ancient Hindu traditions, combined with drama, that narrate stories through music and dance. Various types include the Ramayana Ballet, the Legong dance, the Barong Dance, among others.

TINIKUNG: A traditional Philippines dance, it is said to have originated in in Leyte, an island, during the Spanish colonial era. It derives its name from the tikling birds, whose speed and graceful movements the dance imitates. It imitates the birds' movements as they walk between grass stems, dodge bamboo traps set by farmers, and run over tree branches.

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WHICH IS THE FAMOUS FOLK DRAMA OF MAHARASHTRA?

A tamasha is a traditional theatre art form of Maharashtra, prevailing since the 18th century in most parts of rural Maharashtra. Tamasha was exclusively performed by boys and young men due to varied reasons. During the reign of kings, varied stories were narrated and enacted through the medium of music, dance, acting and dialogue delivery. Playing a key role in a tamasha is the vidushak or songadya (comedian). The comedian is also the coordinator, who narrates the entire story with jokes in between that indirectly portray the ills of society in a humorous manner.

The popular folk dance of Maharashtra known as lavani forms an integral part of a tamasha. While lavani is extremely popular in urban areas, the tamasha is still more prevalent in rural areas, wherein thousands are attracted to watch and be entertained with a night long performance. There are around 15,000 families who are practitioners of this art form, and include dancers, musicians, make-up artists and other technical staff involved in the organisation of a performance.

Significance of the tamasha and its evolution

Tamasha literally means 'dispeller of darkness' in Marathi. It can be traced to the 18th century when Peshwa spies picked up the art from Mughal military camps and made it their own. The traditional lavani, a forerunner of tamasha, was an amalgamation of kavya (poetry), sangeet (music) and abhinay (acting).

The current format includes a wholesome entertainment showcasing gan (musical and lyrical prayers to Lord Ganesh), gavlan (musical and lyrical tribute to Lord Krishna, Radha and his various milk gathering women, his love interests), rangabaji (songs and dances including lavani), batanavni (skits and banter between anchors) and vagnatya (a full-fledged play).

There are two types of tamashas, namely fadacha and sangeet bari. While fadacha gives more importance to light-hearted humour and acting, sangeet bari lays emphasis on music with a lot of dances as well.

Music

A four-piece orchestra consisting of an organ, dholki (percussion instrument), clarinet and halgi (small drum), support the singing, that does not emphasize melody but dramatization and follows the natya sangeet (drama music) that forms the hallmark of Marathi theatrical productions. A doyen among folk artists, Pathe Prabhu Rao Kulkarni has rearranged the music and lyrics with the objective of education through entertainment. Nevertheless popular Marathi and Hindi film songs have been adapted for mass appeal.

Costumes, make-up and performances

With the inclusion of women performers, tamasha has become quite popular, particularly, the lavani. The make-up used is quite ordinary but sometimes garish, too. Women are attired in the traditional nine-yard saree which is stitched in such a way, like a dhoti, to make it comfortable to dance and sometimes jump too, according to the story or scene depicted. The male dancers or actors, the drummer, the singer and the comedian used to move and dance along with the dancers but recently changes have been introduced pertaining to the style of presentation.

Social relevance of a tamasha

The tamasha is socially relevant because it is a well balanced performance - the songs and dances are there to entertain while the skits and plays are socially relevant. Tamashas cover a wide range of social issues and the speciality is that they do it in a dramatic manner, using humour, thus connecting with people instantly.

Tamasha performances are a combination of information, education and entertainment. Many a time they are a medium used as social correctives too. Many plays are based on Sangeet Bari, an award-winning book written by Bhushan Koregoankar.

Ganpat Rao Mane, owner of Loknatya Tamasha Mandal, Chinchini in Sangli district of Maharashtra, has penned socially-relevant tamasha plays like Maharashtra Chuktay Nahi (Maharashtra Won't Be Divided), a historical on the life of Sambhaji, Lagan Adhi Kum Kum Posle (Widowed Before Marriage), Dnyaeshwar Maji Mouli (Dnyaeshwar My Mother), Janma La Indira Punha (Indira Be Born Again), Ase Pudhari Thar Kara (Kill Such Corrupt Leaders), Hunda Rakt Mangat Ahe (Dowry Demands Blood), etc.

Eminent performers

Vithabai Narayangoankar is a veteran performer while both Satyabhamabai Pandarpurkar and Shabubai are Sangeeta Natak Akademi winners. Anil Vasudevan, despite being a Malayalee, is the choreographer and director of Bin Baicha Tamasha (Tamasha Without Women) group consisting of all male dancers who excel in the female disguise, and has already rendered thousands of performances winning wide acclaim and appreciation. Anil Vasudevan is a Bharata Natyam and folk dance exponent and dance teacher for over four decades.

Tamasha is widely performed by local or travelling theatre groups within the state of Maharashtra with great appeal to the local folks. Its themes have also become the subject of several Marathi films. Today, it has become an awareness weapon, which can challenge norms and often embraces rebellious issues for the common man.

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What is Burra Katha tradition in Andhra Pradesh?

Though it had been around for years. Burra Katha gained unprecedented prominence during the early 20th Century Because this oral storytelling folk art form got an absolutely new lease of life-from its mostly religious and mythological focus till then, in the 1930s it became a powerful tool during the Indian freedom movement for spreading the message of colonial oppression. Traditionally performed by a three-people team-one lead performer and two others who beat a drum called dinki. Burra Katha was popular in rural areas of not just Andhra Pradesh (including what is now Telangana) but also of Kamataka. Some of the artists still active today have performed this art form for decades, and feel it is losing its sheen because today it does not have many takers, especially among the youth-neither as performers nor as viewers. The theatre form is striving to stay afloat by re-inventing itself in many ways-such as having a troupe of more than three members, not confining to just religious and mythological themes but taking up opportunities to spread message on contemporary issues, etc.

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What is Kerala Theyyam?

A research article suggests folk theatre forms such as Tamil Nadu's thenukoothu, and theyyam and yakshagana of neighbouring States all had a common point of origin before branching out to become what they are today. This seems fairly accurate if something even as basic as the make-up and costume are anything to go by- they are elaborate. But since they branched out, the performances have their differences too. Theyyam is a form of ritualistic open theatre usually performed in front of a shrine. While the history, culture, and themes surrounding this theatre can fill pages of several books. what is incredible about theyyam is how it changes the caste equation, albeit temporarily in a theyyam performance, the artiste becomes a deity, and these performers have invariably belonged to the Scheduled Caste. But so long as the performance lasts. the performer-the deity"-is revered while everyone else, irrespective of their caste, is reduced to just a mass of collective reverence. And wordlessly if momentarily, the ritual dissolves the caste system.

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What is Yakshagana tradition?

A dance-drama performance said to have originated in the coastal regions of Karnataka, Yakshagana translates to celestial (yaksha) music (gana). With episodes from epics brought to life in villages and around paddy fields, this has traditionally been a night-long performance that brings together music, song, dance, and complex costumes. Said to have been around for centuries, Yakshagana was always performed by men, including for female characters. However, women are part of the troupe these days. It is believed that yakshagana does not normally have any set script and that the rich scholarly narrative is the visible evidence of the artist's spontaneity. As with many other such folk theatre forms, this one is experimenting too. And if media reports are any indication, it seems to have the comforting patronage of even the younger generation today.

Yakshagana is slowly but steadily gaining popularity outside India. Amateur groups have successfully staged performances in the USA and Canada.  The performances are usually held during the months of November and May.

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Which folk dance of Tamil Nadu street play?

Deeply linked to the cultural history of Tamil Nadu therickoothi combines two Tamil words thenu, meaning street and koothu meaning performance Marked by elaborate costumes that make it easy for one to spot the characters even from afar, thenukoothu is said to have its origins in the worship of the Mother Goddess and tied inexplicably to Draupadi a most powerful character from The Mahabharata" But what is remarkable about thenukoothu is the several layers it shoulders, a testimony to its long tradition, continuous evolution, and generous accommodation of the times it is set in. Which is why poignant episodes from epics and snarky remarks about indifferent governments rub shoulders effortlessly in today's performances, continuing to pin riveted audience to their floor-seat.

Music is an important part of Therukoothu art form. Dolak or Miruthangam, Jalra (Thaalam), Harmoniyam (sruthy box) are the musical instruments employed in this art form. In most of the Therukoothu groups, either Mugaveena or Flute is played. The main objective of the street theatre is to go closer to those who have been marginalized by society. It creates a new space for common people. The other objective of the street theatre is mainly to convey a particular idea through the direct but brief and effective means of dramaturgy.

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In which state Mohiniattam dance is famous?

Mohiniattam is the elegant, lyrical classical dance of Kerala, prevailing for centuries and is normally performed by women. The dance movements symbolize the exquisite swaying of the palm trees of Kerala. It is the dance of the enchantress and not the dance of the seductress as misunderstood by many. It is based on the lasya concept of dancing, a feminine, graceful style of dancing, initiated by goddess Parvati.

Stories of Mohiniattam's origin

According to Hindu mythology and varied sacred texts, there are various references to the word Mohini and the evolution of Mohiniattam. During Amruta Manthan (churning of the ocean in search of the nectar of immortality), in a tussle between the devas (gods) and asuras (demons), the demons were about to snatch the pot of nectar, but Lord Vishnu appeared as a beautiful damsel, Mohini, and took away the pot of nectar. Hence, Mohini is referred to as the beautiful woman of enchantment. The word Mohini is derived from the words mohit and moham.

Another popular story is that of the demon Bhasmasura, an ardent devotee of Lord Shiva. Due to his penance, the Lord granted him the boons that he wanted. Bhasmasura asked for the boon that on whosoever's head he kept his hand, that person would perish. The boon was granted and the excited demon wanted to try it on Lord Shiva himself. Shiva ran for his life and met Lord Vishnu who told him not to worry. Lord Lord Menon Vishnu appeared to the demon as the beautiful and enchanting Mohini. The demon was completely enchanted by her beauty and proposed marriage. Vishnu agreed on the condition that Bhasmasura dance with her. The demon started to dance with Mohini in great excitement and in the process placed his hand on his own head and perished!

Mohiniattam's evolution from devadasis

In the temple rituals which prevailed in the 19th century, young teenaged girls were married to the Lord and were known as devadasis or servants of the Lord. They learnt classical music and dance, and performed regularly on social and religious occasions. Four such classical dance styles developed in the devadasi tradition Bharatanatyam, Mohiniattam, Odissi and Manipuri. Bharatanatyam was known as dasi attam or sadir, Mohiniattam as thevadichi attam, Odissi as maharis and Manipuri dancers were known as meibis.

Originally, the devadasis were confined to the temples, but slowly they moved on to dancing to the tune of rich zamindars, chieftains and ultimately at the royal courts of kings. But the dancers did not receive royal patronage or protection to keep their sanctity and classical quality. So these dances began to deteriorate and degrade until social reformers like Mahakavi Vallathol and great poets like Rabindranath Tagore intervened to give these dances a new respectability.

Kerala Kalamandalam

The great poet in Kerala, Mahakavi Vallathol, established Kerala Kalamandalam in 1930 at Cheruthuruthy in central Kerala, to convince people that classical dances are essentially sacred, hence youngsters could learn these dance forms. Kathakali and Mohiniattam were taught in this school of dance in the beginning. The first teacher of Mohiniattam was Kalamandalam Kalyani Kutty Amma, wife of legendary Kathakali artist Kalamandalam Krishnan Nair.

This premier centre for performing arts in India has produced several dance professionals and teachers. Kalamandalam Satyabhama, Sugandhi, Nirmala Panikkar and Kalamandalam Kshemavathy are the most senior exponents. Some dancers with religious themes are Gopika Varma of the royal family of Travancore, Shyamala Surendran, Jayaprabha Menon, Ayswaria Warrier, Geeta and Radhika Radhakrishna, Neena Prasad, Pallavi Krishnan, Rachita Ravi and Mythili Anoop.

Dr Kanak Rele's contributions

Dr Kanak Rele, a non-Malayalee, is the only Mohiniattam dancer to receive the prestigious Padma Bhushan award. After receiving a grant from Ford Foundation, Dr Kanak made a documentary on the three pioneer Mohiniattam exponents, Kalyani Kutty Amma, Chinnamuamma and Kunju Kutty Amma and then evolved her own style with musical support in the traditional Sopanam Sangeetam style composed by Kavalam Narayan Panikkar. Dr Kanak introduced several new choreography styles projecting women empowerment with items like Amba, Draupadi, Kubja and Kalyani based on Tagore's Chandalika and has given several performances all over the globe. She has written books on Mohiniattam like Bhava Nirupana: Dance Vocabulary, etc.

A dance educationist, Dr Kanak established Nalanda Dance Research Centre, known as Nalanda Nritya Kalamahavidyalya, with degrees up to the doctorate level. It has trained several dancers, many of them professionals and teachers like Madhuri Deshmukh, Dimple Nair (Doha, Qatar), Sunanda Nair (USA) and young, brilliant dancers, Saji Nair and Megha Ahire Mohad.

Technique and music

While Mohiniattam is considered as an offshoot of Bharatanatyam and Kathakali, the movements are slow, graceful and lyrical, creating a fine visual appeal. While Kalamandalam follows its own bani (style), Dr Kanak's style has also become immensely popular.

Dr Geeta Radhakrishna has written and illustrated an exclusive book Mohiniattam: Adavus and Mudras which is based on Hasta Lakshana Deepika, Natya Sastra, Abhinaya Darpana, Sangeeta Ratnakara and Bharatarnava. 150 adavus (dance) units) and 24 mudras (hand gestures) are portrayed. She has also written Mohiniattam: Dance of the Enchantress and other books.

Costumes

The costumes include plain white or off-white such as ivory or cream coloured sari embroidered with bright golden or gold-laced coloured brocade. The dancer wears a fitted choli (blouse) matching the sari, below which at the waist is a golden belt which tucks in the end of the sari, and highlights the waist. In front of the sari, below the belt is a pleated sheet with concentric bands in gold or saffron colours. The dancer wears simple jewellery and no masks, in contrast to Kathakali, the other major classical dance of Kerala.

Music and instruments

The music of Mohiniattam involves various rhythms. There are numerous compositions for a Mohiniattam repertoire, most of whose lyrics are in Manipravalam, a mixture of Sanskrit, Tamil and Malayalam. The musical instruments usually are Mridangam or Madhalam, Idakka, flute, Veena and Kuzhitalam. The ragas (melody) are rendered in the sopana (steps) style.

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What is the dance drama tradition of Andhra Pradesh?

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!"

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Which is the classical dance style of Orissa?

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.

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How important are the types of dances in the world?

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.

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In which state is the Kathak dance most popular?

Kathak is undoubtedly the most popular classical dance style of northern India. The specialty of this dance is the spins and the circular movements that create a rare spectacle, the highlight is the rhythmic complexity and footwork that takes several years of devotion to master. Kathak has been acclaimed, for centuries, as one of the most distinct classical dance styles of India.

Kathak evolved from the Vedic period and with several evidences in the form of literature, paintings and sculptures, it is believed that Kathak originated from the story telling tradition. Incidentally, the word 'Kathak' has evolved from the word kathakaar (storyteller), hence varied stories from the Hindu mythology were narrated for spiritual and social uplift - "Katha kahe, So Kathak Kahalave" (Tells a story, hence known as Kathak).

The community of musicians and dancers were known as Kathakar. Buddhist and Jain literature also mentions the tradition of dancers in Vaishali, Magadh and Kosha. According to Valmiki's Ramayana, Lava and Kusha, narrated the story of Ramayana to their father, Lord Rama, without realising that Rama is their father. Besides the storytelling aspect, other aspects like expressions, hand gestures and rhythmic footwork were added to attract theatrical appeal, as dance moved on from villages to courtyards, palaces and finally to modern-day auditoriums.

Kathak reached its pinnacle of glory as it attracted royal patronage during the Mughal regime. King Akbar married a Rajput princess and greatly encouraged arts and artistes. Performers from Persia and Central Asia were invited to perform, hence there was an inter mingling of cultures and styles.

While the Mughal dancers danced with the "salaami toda" and their typical styles, the Hindu dancers were different in their depiction and style of costume and "aharya abhinaya". Nawab Wajid Ali Shah and Nawab Asaf Ud Daulah were great promoters and contributed their poetic renditions which were interpreted in expressional dancing.

As Kathak developed from different regions of north India, it maintained the regional differences and original poetic renditions; thereby different schools of Kathak evolved which were known as "Gharanas". The Jaipur Gharana flourished with the Rajput patronage; one of the founders was Bhanuji, his descendants were Hari Prasad and Hanuman Prasad. The Gharana, further was promoted by Jailal and Sundar Prasad.

The Lucknow Gharana was founded by Thakur Prasad who was the Guru of poet Wajid Ali Shah, his sons were Bindadin and Kalka Prasad. The most popular Kathak maestro of contemporary society, Pt Birju Maharaj, also hails from the same family.

Janikiprasad Gharana also known as Banaras Gharana was founded by Sohanlal, Mohanlal, Naval Kishore and Kundanlal. Famous dancer Nataraj Gopikrishna belongs to the Banaras Gharana.

Music, training and performance

Both classical music, light and folk music have been adapted into Kathak dance according to regional differences and flavours. Bindadin Maharaj's poetic renditions are used quite a lot, besides devotional rendering of Tulsidas, Surdas or Meera Bhajans.

Like other classical dance styles, it takes several years, for the student to get into the level of Visharad or Alankar. Continuous practice and complete devotion and involvement is necessary to become a fine exponent. The performance for one hour or more begins with a Vandana, prayer and invocation, followed with the execution of varied pure dance numbers with rhythmic complexity, tatkaar and finally a Tarana or an expressional Abhinaya number.

Some of the top Kathak dancers are Birju Maharaj, Shovana Narayan, Uma Sharma, Pt Pratap Pawar, Pt Nandkrishore Kapote, Pt Nagaraj, Paullomi Mukherjee and young dancers like Sunil Sunkara, Nidhaga Karunad and Jena Lakshmi.

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Which is the oldest classical dance style of India?



Bharatanatyam is the oldest classical dance style, with a history that is more than five thousand years old, and this dance style is acclaimed internationally, too. It is not surprising to watch young children learn Bharata Natyam in New York, Paris, London or Zurich for that matter.



The eight distinct classical dance styles of India are Bharatanatyam (Tamil Nadu), Kathakali and Mohiniattam (Kerala), Kuchipudi (Andhra Pradesh), Odissi (Orissa), Manipuri (Manipur), Kathak (northern India) and Sattriya from Assam. Bharatanatyam reigns supreme and particularly popular even in European countries.



Evolution



Architectural and sculptural evidence proves that Bharatanatyam Nilesh Singha and some other classical dance styles like Odissi and Manipuri originated from the temples. The earliest reference in the second century from the Tamil epic classic Shilapaddikaram and the temples that developed during the sixth to ninth century signifies and defines dance as a well-refined art form.



Varied aspects of music and dance were derived from the four Vedas, namely, Rig, Yajur, Atharva and Sam, and the fifth Veda known as Natya Veda was believed to have been created by Lord Brahma. Lord Nataraja (Shiva) is considered the king of dance and all the classical dance styles portray stories from Hindu mythology. Lately, stories from the Holy Bible are also recreated in the dance format. The eight types of classical dance styles are based on texts like Bharata's Natya Sastra, Nandikesvaroa's Abhinaya Darpana, Sangita Ratnakara, etc. Stories are told through the medium of varied intricate movements, body language and expressional dancing in order to establish the inter-relationship between the human soul and the divine soul.



Devadasis or servants of the gods



During the eighteenth and nineteenth centuries, the devadasi system prevailed; young teen-aged girls were married to the "lord" which was part of the temple ritual. These girls were trained in classical music and dance and performed during religious and social occasions.



Bharatanatyam then was also known as devadasi attam or 'sadir'. The degradation of classical dance started when devadasis moved on from the temple courtyards to dance for the elite chieftains and zamindars and ultimately for kings and enjoyed royal patronage.



While the dancers were ostracized by society, the society was equally responsible for the shift from the "spirit" to the "body". The colonial British banned the devadasi system and described the dancers as "nautch" girls. There were protests as the sanctity of classical dance was disturbed and dances were witnessed only in quarters. Classical dances underwent varied stages of progression and regression due to varied social and political changes over the century.



During the twentieth century, American dancer Esther Sherman renamed herself as Ragini Devi in order to learn classical dance. Lawyer and critic E. Krishna Iyer donned female attire in order to attract children from respectable families to learn classical dance. Theosophist and founder of Kalakshetra School in Chennai, Dr Rukmani Devi Arundale, and the legendary dancer from the devadasi community, Balasaraswati, are considered the pioneers of the dance movement in India. Ram Gopal and Uday Shankar placed classical dances on the international platform. Great poets like Rabindranath Tagore and Maha Kavi Vallathol promoted classical dance in order to regain its respectability.



Music and technique



Music is in the classical Carnatic music style and the trinity of Carnatic music, namely, Tygaraja, Shyama Sastri and Muthuswami Dikshitar, were the main composers whose musical compositions form the main repertoire of any Bharatanatyam performance. Compositions of saint poets like Shankaracharya Meera, Tulsidas and several others were also used in the dances. Hindustani music was also used in Bharatanatyam, particularly by the Maratha rulers of Tanjavur.



The technique of Bharatanatyam is quite intricate and complex Bha is expressions (Bhavam) Ra is musical melody (Ragam); Ta is time measure or rhythm (talam) and Natyam is dramatic quality. Furthermore, Bharata Natyam is a beautiful and divine art form that combines, music, melody, histrionics, philosophy, psychology, mythology, varied movements, etc.



Students start learning at the tender age of five, and the minimum learning duration is at least ten years, varied movements and steps "adavus" that become quite intricate, and later all the movements and gestures are used in a particular item or number. After completion, the student performs Arangetram (ascending to the stage). The performance begins with invocations and prayers to the gods, todaya mangalam, pushpanjali, alarippu, jatiswaram, sabdam, varnam padam and the finale, thillana.



Some of the top exponents of Bharatanatyam are Mrinalini Sarabhai, Yamani Krishnamurthy, Padma Subrahmanyam, Chitra Visweswaran, Sudharani Raghupathy, Malavika Sarukkai, Alarmel Valli and Nilesh Singha. To pursue a career in classical dance is not easy as you need a lot of patience, determination, will power and hard work to become an accomplished performer.



 



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What are the lesser known art forms of Theyyam and Puli Kali?



Theyyam is a ritualistic dance form wherein pantheistic deities are summoned to the body of the performer. The performers are generally men and they perform in a kaavu (small rain forest) manifesting varied aspects of nature. The performers are decorated with leaves, garlands, flowers and fruits. The headgear is really big and personifies Chamundi Theyyam who is the goddess invoked. Particularly prevalent in North Malabar, there are several types of Theyyam, and the dance is performed near temples. There are particular communities that follow this custom with strict adherence.



Puli Kali is the play of the leopard or tiger; dancers are attired with masks and are completely made-up like tigers. It is performed by men, women and children during festivals like Onam. Pot-bellied men practically shake their bellies that are painted with the face of the tiger! It has more of recreational value of fun and frolic and is prevalent in many districts of Kerala.



 



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What are the lesser known art forms of Ottam Thullal?



The word ‘Ottam’ mean ‘running’ and ‘Thullal’ means a form of ‘dancing’. In other words Ottam Thullal is a playful dance with entertainment, accompanied by a message and with plenty of puns and satire. Kunjan Nambiar was a great promoter of this art, who also composed the lyrics in Malayalam which can be understood by the common people. For instance “Ottam Thullal thulli Verumbo, Veetil Kanji KudikyanIlla, Ethera Valliye Vanna Thadiyan, Yedenna Kollam, Yendena Kollam, Ullokeya Polay Oru Thannine Kollam” (After the Ottham Thullal, the artiste returns home but has no food to eat, what is the use of being such a big man when he is unable to take care of his basic needs). Known as the ‘poor man’s Kathakali’, the make-up, costume and technique of performance is comparatively quite simple.



Another interesting thing is that the Thullal dancer himself plays the role of both the storyteller and the performer and the way he manages both the role is quite fascinating. And the entire performance provides for thought and entertainment for the audience.



 



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What are the lesser known art forms of Chakyar Koothu?



Chakyar Koothu for generations has been performed by the traditional family of Chakyars. Chakyar and Nangiars are two particular communities of Kerala that have developed their lives to the propagation and promotion of this unique performing art. The artiste is attired in a strange style that symbolises a bird, and gives a comic touch to the personality of the artiste. The artiste is known as a court jester or vidhushak who has a distinct role to perform.



While narrating varied stories from epics, the performer also portrays, enacts and narrates various ills of the society that need to be corrected for the betterment and welfare of the people. During the days of royal patronage, it was not easy for common people to reach the king; hence they would face several problems regarding their survival, and were exploited by rich landlords or feudal lords. Hence this art form was used as a social corrective, so as to attract the attention of the king. While narrating the stories with wit and humour, they would also be related to contemporary society and at times make fun of people from the audience in a different context. While Chakyar Koothu is performed by men, Nangiar Koothu is performed by women.



 



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