Indian Classical Dance: Kuchipudi

• Indian classical dances originate from Natya Shastra.
• Initially nurtured in temples, patronage shifted to royal courts, then society.
• These dances evolved in stylization and presentation over time.
• Today there are nine identified Indian classical dance forms.
  • Kuchipudi
  • Bharatanatyam
  • Kathakali
  • Manipuri
  • Mohiniattam
  • Odissi
  • Chhau
  • Sattriya
  • Kathak

Kuchipudi

• Vibrant classical Indian dance originating from the Telugu region.
• Kuchipudi is Village in Andhra Pradesh, also known as Kuchelapuram, 35 km from Vijayawada.
• 'Yakshagaana' dance-drama tradition existed in these regions.
• Sri Siddhendra Yogi created the Kuchipudi dance drama tradition.
• Lord Krishna told Siddhendra Yogi in a dream to create a dance-drama of bringing the Paarijaatha flower for Sathyabhama.
• Siddhendra Yogi then composed ‘Bhama Kalapam’, central to Kuchipudi repertoire.
• Siddhendra Yogi engaged young Brahmin boys from Kuchipudi village to perform, including the Bhama Kalapam.
• Nawab of Golconda, Abul Hasan Tanishah, gave Kuchipudi village to Brahmin families in 1675 A.D. who pursued the art form.
• In the Kuchipudi dance-drama tradition, his followers then wrote several dramas still performed today.
• Kuchipudi was previously a dance drama, requiring actors and open stage, performed by male Brahmins, who also played female roles. Male Brahmin domination.
• Kuchipudi transitioned from only small interludes within dance-dramas to also include solo form later on.
• Kuchipudi did not involve women earlier.
• Sri Vedantam Lakshminarayana Shastry (1886-1956) brought changes to Kuchipudi.
• Lakshminarayana Shastry introduced the solo dance format, began training female dancers, traveled extensively, introducing new solo items.
• He widened its social base by including other families.
• Kuchipudi developed in to a classical solo form in the mid-20th century.
• Sri Vempati Chinna Satyam's Chennai Kuchipudi Art Academy trained many dancers, like Smt. Shobha Naidu.
• Smt. Uma Rama Rao propagated Sri Lakshminarayana Shastry’s repertoire.
• Consists of fast rhythmic foot work, mime, hand gestures, expressions, and vachika abhinaya consisting of dialogues.
• Ardhamandali is the basic stance.
• Extensive adugulu training involving sthankas and charis is given.
• Small Jathis are taught and performed before the main repertoire.

Kuchipudi Repertoire

• Ganesha Vandana (invocatory item).
• Jathiswaram
• Shabdam
• Kalaapam (mostly Bhaama Kalapam)
• Thyagaraja Kritis
• Annamacharya Keertanas
• Padam
• Jaavali
• Ashtapadi
• Shlokam
• Thillana
• Tarangam involves balancing a pot of water on the head along with executing complicated rhythmic patterns on the edges of a brass plate.

Kuchipudi Music and Accompaniments

• Classical Carnatic music forms the base.
• Sutradhar/Nattuvanar: chief conductor playing cymbals (nattuvangam), reciting sollukattus, and occasionally singing.
• Other musicians include a Mridangist, Violinist, and Veena/Flute player.

Kuchipudi Costume

• Make-up highlights facial features.
• Sari is traditionally wrapped/stitched with a gochi (solo form).
• Raagadi, chutti, and Surya-Chandra decorate the hair.
• Jhimikilu and Maatilu are worn on the ears.
• Haaram is worn around the neck.
• Voddiyanam is worn around the waist.
• Bangles are worn on the wrist.
• Gajjalu (bells) are worn on the feet.

Kuchipudi Texts Followed

• Abhinaya Darpana.
• Natya Shastra.
• Nritta Ratnavali.

Bharatanatyam

• Developed in Tamil Nadu, Andhra, and Karnataka.

Bharatanatyam History

• Dasiattam was performed for the deity regularly in temples.
• Devadasis were temple-dancing girls who could sing, dance, play instruments, read, and interpret religious texts.
• It was an offering as Upachara or ritual, and was performed at temple processions.
• Temples respected Devadasis and art form they took seriously.
• Rajaraja-I and the Chola rulers provided patronage between the 10th-14th century for growth and development of Bharatanatyam.
• Temples with nata mandirs emerged.
• Brihadeeswara temple at Tanjavur, Gangaikonda-Choliswaram temple at Cholapuram, Meenakshi temple at Madurai, and Nataraja temple at Chidambaram are evidence of this dance form.
• Passages in the gopurams at the Chidambaram temple depict 108 karanas, reflecting the in depth knowledge of Natya Shastra.
• The Pandya, Nayaka and Maratha continued to endorse the dance form until the end of the 19th century AD.
• During the reign of Marathas (1674 AD – 1854 AD) at Tanjavur, Dance was called Sadir Nautch.
• Sadir means 'to present' in Marathi.
• Dance was mainly performed in temples, the courts of kings, Princes and landed gentry.
• During the time of Raja Serfoji II (1798-1832 AD), Chinniah, Ponnaiah, Shivanandam and Vadivelu (the Tanjore Quartette), prescribed the structure of Sadirattam.
• During British Rule, artistes migrated for new patrons as Devadasis lost status.
• Merchants, bankers, and financiers then replaced kings as patrons.
• The art form lost significance.
• The British heads made Indians working under them disown Indian culture to impress the British.
• Sadir became cheap entertainment, losing identity and reputation.
• Dancers practiced secretly after temple dancing became forbiddden.
• In early 1930s, Sri E. Krishna Iyer revived Sadirattam.
• Krishna Iyer donned female attire to demonstrate and give solo performances.
• Rukmini Devi Arundale studied Bharatanatyam and furthered momentum following Krishna Iyer.
• Sadir regained majesty and was renamed Bharatanatyam led and Propagated by Rukmini Devi.
• Rukmini Devi founded the ‘International Academy of Arts’ (Kalakshetra) in 1936, generating Bharatanatyam awareness.

Bharatanatyam Styles

• Styles are named after the great Nattuvanars and Gurus and places they come from (Pandanallur, Vazhuvoor, Thanjavur, Kanjeevaram etc.).
• Pandanallur style is named after Guru Pandanallur Meenakshi Sundaram Pillai, Vazhuvoor style after Guru Vazhuvoor Ramaih Pillai.
• Numerous other styles exist.
• The basics for these styles are similar, including certain differences in execution of Adavus and format of presentation.
• Special movements differentiate each of these styles.
• Bharatanatyam styles are evolving, bringing variety.
• Body is described as triangles.
• The opening liner position quickly descends in to araimandi or half-sitting position creating triangles.
• Hand movements are linear.
• The basic unit of dance is called the Adavu and several Adavus are taught before proceeding with the items
• Nritta and Abhinayam are of equal importance.

Bharatanatyam Repertoire

• The repertoire is referred to as the margam.
• Alarippu: Pure dance sequence and opening number.
• Jathiswaram: Dance involving pure rhythm.
• Shabdam: Abhinaya is introduced.
• Varnam: Combines nritta and abhinaya to test the dancer's interpretative and rhythmic skills.
• Padam: Explores nayika – nayaka bhavas or love.
• Thillana: vibrant.
• Shlokabhinayam: closing dance.
• Kurathi (fortune teller) and Snake dances are performed.
• Pushpanjali, Kauthvam, Javali, Keertanam, and Jayadeva's Ashtapadi are included.

Bharatanatyam Music and Accompaniments

• The nattuvanar is the conductor, wielding cymbals to mark beats.
• The ensemble includes a vocalist, Mridangist, Violinist, and Flute/Veena player.
• All music is Carnatic.

Bharatanatyam Make Up and Costume

• Enhancing the features – eyes, nose, eyebrows, lips, etc.
• Dancer is heavily bejeweled.
• The hair is worn in a long braid decked with flowers.
• Rakodi is worn behind the head around which flowers are decorated and kunjalam at the end of the plait.
• Chutti and chandra perai, surya perai for the head.
• Jhimiki and maatal for the ears.
• Addigai and haaram for the neck.
• Voddiyanam for the waist.
• Bangles and Shalangai (the ankle bells).
• A modern stitched sari with pleated fans.

Bharatanatyam Texts

• Abhinaya Darpana.
• Natya Shastra.

Kathakali

• Highly stylized and dramatic dance from Kerala
• Kathakali means "story play".
• Derived from katha/story and kali/play.
• Roots are in Kerala’s dance-dramas – Chakkiar koothu, Koodiyattam, Krishnattam, and Ramanattam.
• In the 17th century, Zamorin of Calicut designed and staged Krishnattam plays.
• Zamorin of Calicut authored Krishnagiti, inspired by Lord Krishna in 1650.
• The ruler of Kottarakara staged Ramanattam plays in retaliation because Zamorin was reluctant to have his Krishnattam troupe perform there.
• Tampuran of Kottayam added Mahabharata, Shiva Purana, and Bhagavata Purana themes.
• These plays were then then written in Manipravalam, i.e. Malayalam enriched with Sanskrit.
• Performances were held for eight nights in the starlight casted by the shining brass oil lamps.
• KERALA KALAMANDALAM is a premium dance institution

Kathakali Technique

• Combines dance, music, and acting to dramatize stories from epics.
• Malayalam and Manipravalam make up the script/padams.
• Female characters were performed by male artists until recently.
• Abhinaya includes codified Hastha-mudras and facial expressions per the Natya Shatra.
• Neera abhinaya entails interpreting long intervals of lyrics through the eyes without blinking.
• Kalasams mark segment ends and beginnings.
• Dancers are free to express in quick turns, leaps, and jumps during pure dance sequences.
• Dancers in samamandalam or half-sitting posture.
• Dance moves in rectangles and squares. Until recently men played female parts.

Kathakali Repertoire

• Simple stage containing a large oil lamp.
• Dancers stand behind a curtain held by two people.
• Kelikottu: Percussionists call audience attention beginning performance .
• Thodayam: Invocatory dance.
• Purappadu: Pure dance sequence.
• Tiranokku: Where characters are introduced.
• Manodharma facilitates actor improvisation using gestures along with the music to relate the literary content.
• Shloka concludes the play while the curtain is slowly reintroduced.
• Nala Damayanti, Kalyana Sowgandhigam, and Duryodhana Vadham are popular plays.

Kathakali Music and Accompaniments

• Follows Sopana sangeetham.
• Instruments used include chenda, maddalam, idakka, chengila, ilathalam, and shankhu.

Kathakali Make Up And Costume (Aharya)

• Symbolic of character such as heroes/anti-heroes.
  • pacha (green) for gods, kings, and heroes.
  • katthi (knife-like)/red for wicked characters.
  • chutti made with paste of ground rice running along the chin.
  • ‘Tadi' denotes demonic and malignant characters like Dusshasana
  • red-beard. -vella tadi’ symbolizes pure souls like Hanuman
    • white beard
    • 'karuttha tadi' symbolizes forest dwellers
    • black beard.
• Female characters- veiled scarves, hair in knot, and red jacket.
• Dancers’ make up shines (minukku)
• Multi-layered skirts and full-sleeved, high-necked jackets, with jewelry up to the waist.

Kathakali Texts:

• Balarama Bharatam.
• Hasthalakshna Deepika.

Manipuri

• Dance is a classical Indian dance form.
• It originates from Manipur (North Eastern India).
• Unique traditional culture is preserved due to its location.
• Dances are categorized into two time periods.

Manipuri - The pre-Vaishnavite Period

• Mainly folk dance, Lai Haraoba, and performed by dancers, priestesses (Maibis), priests (Maibas) and common people.
• Story of Khamba-Thoibi, tragic lovers.
• Characters of Nongpokningthou and Panthoibi who some believe are versions of Shiva and Parvati.
• Thang-Ta: Manipuri martial art from border attacks and self-defense.
• Thang-Ta became ornamented with Gurus/experts training, presented before Kings.

Manipuri - The Vaishnavite Perio

• The Rasleela was created by King Bhagyachandra after being commanded to in a dream by Lord Krishna.
• King invited scholars, exponents, Gurus to compose Maharaas.
• Costumes were also visualized in King's dream.
• Sankirtana's roots are of Bengal, community prayers offered to Lord Krishna by Vasihnavas and spread through Manipur.
• Performed by male performers, starting with Pung/Manipuri Mridang players, singers, kartal/cymbal players.
• Two Cholam styles originated from Sankirtana: Nat-Sankirtana Pung Cholam and Kartaal Cholam.
• Also the Dhol and Dafat Cholam existed.
• Nat-pala is the performance group mentioned.

Manipuri - Technique

• Incorporates tandava and lasya aspects.
• Tandava form has three parts:
• Gunthanam Tandav for Krishna Tandava.
• Chalanam Tandava in Cholam.
• Prasaranam Tandava from Thang-Ta.
• Acrobatic moves such as jumps, leaps, pirouettes contributes.
• Agility & strong core are very important.
• Lasya aspects are seen in Raas with two characteristics: swaying like a banana leaf and the up and down movement’ of the body like waves.
• Dancers of Raas weave in serpentine patterns, figures of eight, , ‘S’.
• Subtle arm expressions are important
• Movements are slow, graceful, flowing, pressing their feet on the ground with undulating arm movements flowing into the fingers.
• Expressions are conveyed though body and facial movements.
• Emulates love.
• Two Lasya types: Simitangam (slow) and Sphuritangam (medium/fast).

Manipuri - Repertoire

• Ashtapadis of Jayadeva's Geeta Govinda sung with religious fervor.
• Five Raas types describe Divine love of Radha-Krishna.
• Maharaas -Vasantraas -Kunjaraas -Nityaraas -Divaraas
• Sankirtana performances celebrate childbirth, Upanayanam, wedding, and death.

Manipuri - Costume and Make Up

• Colorful, attractive and rich.
• Potloi is worn by pot skirt with Kumin which is a stiff worn by female dancers.
• Kumin included mirror design, layered with Poshwal/Pasuan with embroidery furit.
• The head is covered with Maikhum.
• Gopis usually wear a red dress.
• Radha is usually in green.
• Krishna can be seen in a yellow dhoti, dark velvet jacket/crown.
• Natvar besh is the Krishna attire. Jewels and Ghungur adorn the feet.

Manipuri - Music and Accompaniments

• Percussion instrument, the Pung, as well as varieties of drums, flute, cymbals, conch shell, the trumpet-like horn.
• The orchestra include the Mridangan, the flute, the cymbals.
• Vaishnavaite is the style of music that is highly evolved.

Mohiniattam:

• "Dance of the divine enchantress".
• Parvathy and Vishnu first performed Mohiniattam.
• Performed by Parvathy for Shiva to bring life.
• Vishnu took the form of Mohini to kill demon king Bhasmasura and save elixir.
• Older forms of feminine dance in Kerala and Nangyar Koothu trace old forms.
• Mentioned in eighteenth century texts.
• Reshaped by Maharaja Swathi Thirunal of Travancore, Kerala, in the mid-eighteenth century.
• The Maharaja popularized the dance form.
• Sri Vallathol Narayana Menon established a major landmark - ‘Kerala Kalamandalam’.

Mohiniattam Techinque

• Primarily uses ardhamandalam or half-sitting position.
• Movements curved and swaying.
• Serpentine gait, slow and medium tempo.
• Compositions are performed in third and fourth speeds
• Inspired by Kalaripayettu and Koodiyattam.
• Eye movements are subtle.
• Adavus are the dance steps
  • Taganam
  • Jaganam
  • Dhaganam
  • Sammisram
• Vaittari syllables derive these names.

Mohiniattam Repertoire

• Opening invocation is to Lord Ganesha.
• Performed the
  • Mukhachalam and Cholkettus (rhythmic patterns).
• Two sequences occur in the Sampradayam.
• Kalamandalam follows: Cholkettu, Jathisvaram, Varnam, Padam (song), Thillana and Shlokam.
• Swati Thirunal’s poems, Jayadeva's works are mainly seen

Two Dance Sequences

• Kanak Rele's: Ganapathy, Mukhachalam, Nirama and lastly Jeeva.
• Bharati followed by Kerala indigenous taalams.
• Previously, Mohiniattam was performed by women only but men have started to perform it.

Mohiniattam music and accompaniments

• Sopana music (family of Carnatic), deliberate elaboration of dance and music.
• Edakka, Maddallam, Mridangam, and the cymbals are the instruments.
• Edakka capable of all seven notes and the musical scale.
• Vocalist, Veena player and a flute player.

Mohiniattam Costumes

• Inspired by gold bordered attire
• Dancers wear ivory silk with brocade borders, pleated fan in front resembling palm leaf.
• Gold ornaments (chutti, necklaces, waist belt, bangles) with 25-30 bells

Mohiniattam Texts

• Hasthalakshana Deepika

Odissi

• A temple dance which originated in Odisha, india.
• Lyrical and sensuous carvings on the walls of the sun temple and Jagannath temple.
• Is traced back to a 2nd century BC, Rani Gumpha
• Refers to dance as a Odra Magadhi
• One of the oldest dances in the world.

Odissi history

• Draws from gotipua and maharis dance tradition
• Dedicated to worshipping Lord Jagannath
• Maharis great patronage from rulers.
• Male offsprings would dress as women and imitate the dance of Maharis.
• These young male dancers were known as Gotipua's
• Imitated with an Elfin quality of a woman's gait
• Dancers would have to leave when they reached puberty, would then perform outside of temples
• 1700's there was decline in royal patronage
• Post independence lead to rejuvenation
• The dance form name was given as Odissi
• 1950's, there was massive undertaking by revivalist gurus

4 Key revivalist Gurus

• Guru Pankaj Charan Das
• Guru Kelucharan Mohapatra
• Guru debt Prasad Das
• Guru Mayadhar Raut
• Did and and eventually revived its tradition.

Odissi technique

• Main postures are Chauka and Tribhangi
• Chauka resembles Lord jagannaths idol
• Tribhangi resembles Lord Krishna

Three Main Texts for Odissi

• Natya Shastra
• Abinaya Darpana
• Abinaya chandrika (backbones for the dance)
• Body is broken into three deflections, emphasizing the lasya movement
• The dancers moves into the Chauka positions

Repertoire

• Mangalacharan- dancer entrance onto stage.
• Dancer asked for blessing from the Lord & mother earth.
• Propitiation from Lord Ganesha and the Bighnaraja puja
• Pure dance numbers performed
• batu nritya
• Palavi
• At the end Mokshya meaning salvation, performance accompanied by the Mardala lastly with a Shloka

Odissi Costumes

• Unique amongst classical traditions in the use of silver ornaments.
• The use of bright 9-yard sari in red or green
• Bejewelled Kanchula
• tight fitting blouse
• dupatta covering torso
• apron of frills skirting hips
• A silver Tikka along with the parting of the hair

Odissi Instruments

• Instruments included are:
• percussion drum known as the Mardala
• vocals
• sitar
• violin
• flute
• cymbals.

Chhau Dance

• A popular dance, incorporating martial arts
• Is is preforming in Odisha, west Bengal, and Jharkhand
• Some believe the word “Chauni” derived from shadows or “Chhaya”.

Chhau Dance - History

• Forms an elements of Chaitra Parva (spring festival)
• Performed in March and April.
• Fest devoted to Lord Shiva
• Chhau is preformed by male perofmrs though female from in 1930's began preforming.

Purulia Chhau

• From west Bengal
• Vigorous acrobatic jumps -Energetic shaking
• Easily recognizable
• Royal family remained it’s Folk

Common Dance - All Styles

• Common ground of exercises of martial arts
• known as Parikhanda - sword
• Dance tech base off what what stylize like a tiger
• There are no dance rule books, verbally translated traditions

Seraikela Chhau

• Comes from singhbhum region of Jharkhand

• Faces painted with cotton - clay mixture

• Masks cover facial hair of the perofmer and light

• Last 10 mins

• Kumar Biphar transformed a lyrical dance of warriors.

• Raiganj took formal shaoe by Mayubhanj Ckau’s - Maharajah

SATTRIYA

• The name of the dance dats itself back to the 15th century
• Known as the monasteries by the monks
• About 500 years old
• has strictly laid down with hand, gestured and footwork

Streams

• Bhaoan related
• Independent

Techniques:

• Bhaoan related and independent are 2 of the streams.
• Chah is characterized by elegance
• Was formally performed

Key characteristics

• circular
• jumps
• subtle
• full of devotion

Repertoire:

• Started with Dhermali, a prelude that followed a dramatic entry by sutradhar
• The Sutradhar played a key role
• Garai Pravegar Nirtya

Music and makeup:

• Traditional wear
• A tulusi mala
• Adorning the neck
• silk sarees
• Used while making performance
• Some of the key embellishment

Overview of the Kuchipudi dance form, its origins in Andhra Pradesh, and the influence of Sri Siddhendra Yogi. Kuchipudi evolved from the 'Yakshagaana' dance-drama tradition and incorporates 'Bhama Kalapam'. This vibrant classical dance is rooted in the Telugu region.