Kuchipudi Level 1 Course Material.pdf

SRI PADMAVATI MAHILA VISVAVIDYALAYAM TIRUPATI – 517 502 (A.P.) Dr. HIMABINDU KANOJ Muvva- Nritya Raaga Nigamam Hyderabad, INDIA.  Hima Bindu Kanoj holds a Doctorate in Dance from the University of Hyderabad. She has been...

SRI PADMAVATI MAHILA VISVAVIDYALAYAM TIRUPATI – 517 502 (A.P.) Dr. HIMABINDU KANOJ Muvva- Nritya Raaga Nigamam Hyderabad, INDIA.  Hima Bindu Kanoj holds a Doctorate in Dance from the University of Hyderabad. She has been practicing Kuchipudi since she was 7 years old, beginning dance under the able guidance of her first Guru, Smt. P.B. Krishna Bharathi. She’s continued refining her skills by training under eminent exponents of Kuchipudi dance, Prof. Anuradha (Jonnalagadda) Tadakamalla, and Guru Deepika Reddy and Guru Badrinath Madabhushi. She is a B grade artist from Doordarshan and also an empanelled artist for the South Zone. She also worked as a Guest Faculty for Dance in the University of Hyderabad. She has performed all over India in various festivals and abroad too (USA and Europe) and received critical acclaim for her performances. Her papers of research have been published in journals like Kalasampada, Silicon Andhra etc. She runs an Institute Muvva- Nritya Raaga Nigamam wherein training is imparted to students in Kuchipudi. She also heads a dance resource centre Natya Mitram which works as a research centre for various topics of Indian dance and conducts presentations, workshops and performances with various artists all over India.  SRI PADMAVATI MAHILA VISVAVIDYALAYAM Padmavathi Nagar, Near West Railway Station, TIRUPATI-517 502, Andhra Pradesh. Department of Music & Fine Arts Kuchipudi Curriculum – Level I THEORY Advanced Diploma in Kuchipudi – Level I Specialization: Kuchipudi – Level I Theory Index Name of the Page Unit No. Name of the Unit course writer No’s Unit - I Origin of Dance as per Bharata’s Natya Dr. Himabindu 2-4 Shastra Kanoj Unit - II Various forms of Indian Classical Dances Dr. Himabindu 5-11 and their places of origin Kanoj Unit - III Definitions of the following technical terms: Dr. Himabindu 12-14 a. Nritta, b. Nritya, c. Natya, d. Tandava, Kanoj e. Lasya, f. Adavu and g. Abhinaya Unit - IV Anga, Pratyanga and Upanga as per Dr. Himabindu 15-16 Nandhikeswara’s Abhinaya Darpanam Kanoj Unit - V Asamyutha Hastas and Samyutha Hastas Dr. Himabindu 17-20 as per Abhinaya Darpana Kanoj Unit - VI Paada Karma – as per Natya Sastra Dr. Himabindu 21 Kanoj References 22 Model Question Paper 23-25 Page 1 of 22  Unit – I Origin of Dance as per Bharata’s Natya Shastra OBJECTIVE:  To teach the students the most essential foundation of origin of dance and give an insight about Bharatamuni, the author of Natya Sastra. INTRODUCTION: The origin of Natya is mentioned in the ancient text of Abhinya Darpanam written by Nandikeswara. He describes as to how the concept of dance emerged as NATYOTPATTI. ORIGIN OF NATYA Natya Sastra or Natya veda of Bharatamuni or sage Bharata is the first available encyclopaedia treatise on Indian Drama, dance, music and literature and has been vogue at least by the beginning of the Christian Era. The first chapter of Natya Sastra deals with the divine origin of Natya, the fourth chapter deals with the production before Lord Shiva’s and the last chapter (36th) deals with the first appearance of Natya on the earth. People at the beginning of Tretayuga were leading a mixed life of misery and joy, subjecting themselves to the elemental passions of lust, greed, rancour etc. This appalled the Lokapalas i.e. the rulers of the universe like Indra, whose duty is to inculcate into the people, the spirit of adhering to the righteous way of life. So, Indra and other gods approached Brahma, the creator of the universe and requested him to create a Kridaniyakam (entertainment) in the form of a fifth Veda, pleasing to the eye as well as the ear, instructive and enjoyable to all the sections of people since some of them were denied the privilege of learning the four Vedas. Brahma conceded to the request and went into meditation recollecting the four Vedas for creating the Fifth Veda. He took Pathya, i.e. the word or speech from Rigveda, Gana, i.e. music from Samaveda, Abhinayam, i.e. histrionic expression from Yajurveda and Rasa from Atharvana veda. The Kridaniyakam created by Brahma is called Natya. Natya means production of a play on the stage based on stories drawn from history and Page 2 of 22 mythology. So, Natya Sastra contains rules and regulations for writing a play as well producing it on the stage i.e. it gives instructions to both the playwright and the actor. Brahma taught Natya Sastra to Bharatamuni, as desired by Indra. Bharata, in turn, taught his hundred disciples (also known as Bharatas or Bharataputras) who were endowed with the faculties of Grahana (reception), Dharana (Retention), Jnana (absorption) and Prayoga (expression). He also taught them the methods of play production and employed them to play various bhumikas i.e. roles suitable to them. He at first, was able to employ only three Vrittis i.e. modes of expression in the production Bharati (speech proper), Arabhati (virile expression) and Satwati (emotional expression); with this he was not satisfied. Then he approached Brahma with a request for the creation of the fourth Vritti Kaisiki i.e. graceful or delicate expression. Brahma created twenty four Apsaras to play the Kaisiki vritti. He also entrusted vocal music to sage Narada and Gandharwas and instrumental music to sage Swati and his disciples. Thus, the divine Natya Brindam (troupe) was formed. This brindam produced its first play, written by Brahma himself, entitled Asuraparajayam (i.e. story depicting the defeat of the demons) in the open air at the time of the festival of Indra – dhwaja) ( Indra’s flag). The demons were furious and disturbed the play. Then, the play was produced successfully in a closed theatre, built on the spot by the divine architect, Viswakarma. After Brahma pacified the demons by explaining the nature of Natya, the presentation was enjoyed by all. This is the story in brief, contained in the first chapter of Natya Sastra: Later, the divine troupe, along with Brahma, went to Kailasa, the abode of Lord Shiva and presented two plays (out of the ten major forms of drama) – Amritamadhanam, a Samvakara and Tripuradaha, a Dima. While witnessing the two plays, Lord Siva thought of his own Nritta be incorporated in the Purwaranga of play production also that the meanings of the songs rendered could be clear to the audience. The saint Tandu (who codified the rules pertaining to Siva‘s Nritta) ordained by Lord Siva‘s, taught Nritta to Bharata, comprising of Karanas, Angaharas and Recakas. This Nritta was called Tandava, after Saint Tandu, since it was first explained by him. This is the story, in brief, contained in chapter four of Natya Sastra. Highly pleased with Natya, the gods and demons began to respect the disciples of Bharata. The Bharatas became proud and arrogant and began to insult the high and the low indiscriminately with their Prahasanas Page 3 of 22 (farces). Finally, they were cursed by the sages. Bharata Intervened and sent his disciples to the earth during the reign of Emperor Nahusha; through them Natya was established on the earth. Then the curse ended and the Bharatas regained entry into heaven. This is the story, in brief, is the last i.e. the 36th chapter of Natya Sastra. (Source- Rao, P.S.R. Appa, Abhinaya Darpanam of Nandikeswara, Natyamala Publications, e/d- 1997) SELF ASSESSMENT QUESTIONS: 1. What is the name of the Weapon Lord Indra used to vanquish the demons? 2. What is the name of the Play performed in the Indra dhwaja festival? 3. In which chapter of Natya Sastra is the story of Natyotpatti described? Page 4 of 22  Unit – II What are the various forms of Indian Classical Dances and their places of origin? OBJECTIVES:  To let the students understand the number of Classical dances of India.  To help the students understand the special features of each classical dance before going into an in-depth study. INTRODUCTION: India is known for its rich cultural legacy. Performing arts like classical dances are integral parts of Indian culture. Most of the classical dance forms originated in temples. Worshipping was the main aim. Although every dance form evolved from different regions, their roots are almost similar. The roots can be traced from the Sanskrit text – ‘Natya Shastra’. There are eight Indian classical Dance forms. Bharatanatyam, from Tamil Nadu. Kuchipudi, from Andhra Pradesh. Kathak, from Northern India. Odissi, from Odisha Kathakali, and Mohiniattam from Kerala Manipuri, from Manipur Sattriya, from Assam. BHARATANATYAM The classical dance form of Tamil Nadu, It was also called as Sadir, as it was conventionally performed by Devadasis (dancing girls offered to God in the temple as servants) in Hindu Temples of South India. It was also known as Dasiattam (dasi- servant, attam-dance). Known for its exclusive solo dancing, it dates back to the ancient time of 2nd century B.C. the time being mentioned in the Ancient Tamil Epic, Sillapadikaram. It follows the convention of Natya Shastram, Abhinaya Darpanam and Sangeet Ratnakaram which help the dancer guide the technique and grammar of body movements. Page 5 of 22 KUCHIPUDI Kuchipudi was originated from the place named ‘Kuchipudi’ in Krishna district of Andhra Pradesh. The founder of the Dance from is Siddhendra Yogi. Though evidences like Machupalli Kaifiyat and other historical sources date it back to the 15th century, the systemised version was actually formed and developed by Yati Narayana Tirtha and his disciple Siddhendra Yogi. Kuchipudi Dance form is a long-established dance-drama style deriving themes, majorly from the Bhagavata Purana, most popular one being the Bhama Kalapam. Though it was a dance drama, it performed only by male members of the bramhin community, it gradually developed as a solo dance form and today we can see both male and female members performing it. KATHAK This dance form belongs to North India. Deriving its name from Kathakaars (story tellers), who were vogue in North India, travelling and dancing while telling stories it was also known as Natwari Nrutya. There Page 6 of 22 are three different schools of Kathak known as gharanas, viz, LUCKNOW GHARANA, JAIPUR GHARANA and BENARAS GHARANA. This dance form evolved during the Bhakti movement, later on occupied a major place in the Mughal courts. The literature is mostly based on the life of Krishna, especially the Raslila. ODISSI Hailing from Orissa, Odissi is a mixture of two traditional styles viz, Maharis (devadasis or Temple Girls) Gotipua (performed by Boys). It has its mention in the oldest Sanskrit Text – Natya Shastra as Audramagadhi. In ancient days this dance form filled with Bhakti Ras was a part of worship to God at Jagannath temples. Thus we find many sculptures in dance position inside the temples of Orissa. Odissi is famous for its presentations on poet Jayadev’s fabulous work Geeta Govinda. Page 7 of 22 KATHAKALI This is a classical dance of Kerala. ‘Katha’= Story or tale, ‘Kali’= Performance and Art. Its roots are in ancient Kudiyattam (Classical Sanskrit Dance Drama) and Krishnattam (Dance-drama depicting Stories of Hindu God Krishna). Movements in Kathakali are influenced by ancient martial arts and athletic tradition. It is basically a Dance-Drama. Kathakali was traditionally a male-dominated dance and now females are too welcomed in this dance form. Kathakali is also famous for its huge elaborate costumes, amazing make-up style, face masks, and ornaments. The technical movements are mostly referred form Balarambharatam, an ancient treatise. MOHINIYATTAM Another graceful classical dance of Kerala is Mohiniyattam. This is Laasya (graceful) inspired dance with soft, calm and gentle movements usually done by women. The word Mohini is related to the beautiful woman incarnation of Lord Vishnu meaning enchantress. Mohiniyattam also connotes, beautiful dancing women. The text Hastha Lakshana Deepika is followed for hand gestures and facial expressions that have an elaborate description of mudras. Page 8 of 22 MANIPURI This form, named after its region of origin, Manipur is also known as Jogai. It was traditionally performed as a dance drama mostly with themes based on Vaishnavism. King Bhagyachandra, was the greatest patron of the dance form. It is also famous for its ritualistic dance theme, Lai Haroba. Manipuri showcases the love between Radha- Krishna through Raaslila. It is categorized as Tandava and Laasya. Manipuri has significant movements of hands and upper body. The different styles of this form are: Raas Kartal Cholam Sankirtan Thang ta (a martial art form) Pung Cholam Ras lila Page 9 of 22  Sankirtana Thangta SATTRIYA Sattriya also originated from the traditional dance drama of Assam. Sattriya was recognized in 2000 as Classical Dance by Sangeet Natak Academy. It is influenced by the Vaishnava Saint Srimanta Sankaradev. Since 15thCentury, Sattriya grew as part of Vaishnav Bhakti Movement in Hindu Monasteries called ‘Sattra’. Sattras are the dance community halls (namghar) of monastery temples. A refined styulised dance, the themses are based on lord Krishna, Rama and Sita. Page 10 of 22 SELF-ASSESSMENT QUESTION: 1. Names of any three classical dance forms and their description in less than 250 words. Page 11 of 22  Unit – III Definitions of the following Technical terms: Nritta, Nritya, Natya, Tandava, Laasya, Adavu and Abhinaya OBJECTIVES: 1. To help the students learn the important terminology of dance. 2. To make the students understand the differences between them. Sloka: “Ētaccaturvidhōpētaṁ naṭanaṁ trividhaṁ smr̥ taṁ Nāṭyaṁ nr̥ ttaṁ nr̥ tyamiti munibhirbharatādibhiḥ” Dance has been divided into three types: Natyam, Nrutham and Nruthyam. Nritta: “Bhāvābhinayahīnantu nr̥ ttamityabhidhīyatē” Nritta is a pure dance where the expression of emotion is negligible. Its purpose is to create beauty using different movement and rhythmic patterns. Nritya: “Rasabhāva vyanjanādiyuktaṁ nr̥ tyamitīryatē” Rasa bhava vyanjakam as mentioned by Nandikeswara, Nritya is referred as an interpretative dance. It has both Natya and Nritta in it, wherein speech is replaced by song, through which the dancer expresses rasas & bhavas. Natya: “Nāṭyaṁ tannāṭakaṁ caiva pūjyaṁ pūrvakathāyutaṁ” Natya is called Vakyarthabhinayam According to Abhinaya Darpana Natya refers to Natakam (presentation of play on stage). Natya is a Dramatic representation with Speech, Dance and Music which depicts mythological and ancient stories. TANDAVA AND LAASYA Sloka: “Ētatrayaṁ dvidhābhinnaṁ lāsya tāṇḍava sanjñakaṁ sukumārantu tallāsyaṁ uddhataṁ tāṇḍavaṁ vidhuḥ Rēcakairaṅgahāraisca nr̥ tyantaṁ vīkṣya śaṅkaraṁ sukumāraprayōgēṇa nr̥ tyantīṁ caiva pārvatīṁ” Page 12 of 22 TANDAVA Tandava is described as a vigorous dance performed by Lord Shiva. Tandava takes its name from “Tandu”, attendant of Lord Shiva, it has brisk movements and is a combination of Karanas and Angaharas.Tandava symbolises the cosmic cycles of creation and destruction.There are Seven different types of Tandavas (Sapta Tandavas). The dance performed by Goddess Parvathi in response to Lord Shiva’s Tandava is described as Laasya. It has soft body movements which are gentle and graceful. There are also seven different types of Laasyas (Sapta Laasysas) namely 1. Ananda tandava 5. Urdhva Tandava 2. Sandhya Tandava 6. Uma Tandava 3. Kalki Tandava 7. Samhara Tandava 4. Vijaya Tandava ADAVU Settled movement of the limbs with rhythm according to the Padabedas rules and regulations is called Adavu. An Adavu can be described as a dance unit. It consists of short rhythmic sequences of coordinate movements of the body, limbs, head, hands, foot and eyes. They are the basic steps which are taught to a dancer at the beginning of the course. A group of Adavus are combined to form a dance sequence just like words form a sentence. Adavus are fundamental steps and there are rhythmic syllables in which they are recognised. Most of the adavus are first done on the right side and same is repeated on the left side. Adavu is a sub-division of Nritta. Eg: Tai Ta Kita Takas Tamta Taddindas Chowkas Kettera Natu Tattai Hitthas Paluguduvarasu Mandi Koppi Page 13 of 22 ABHINAYA The Sanskrit word abhinaya is made up of the prefix abhi ‘towards’ and the root ni ‘to carry’. Thus it means representing (carrying) a play to (towards) the spectators. According to the Saahitya-darpana that representation is called the imitation (or visualisation) of the conditions (physical and mental) of the characters in a drama. In Indian Aesthetics Abhinaya refers to conveying or communicating and it is divided into four types: “Āṅgikō vācikastadvadāhāryaḥ sātvikōparaḥ caturdhābhinayastatra āṅgikōṅgairnidarśitaḥ vācā viracitaḥ kāvyanāṭakādi tu vācikaḥ āhāryō hārakēyūravēṣādibhiralankr̥ tah] sātvikaḥ sātvikairbhāvairbhāvajñē na vibhāvitaḥ” 1) Angika Abhinayam: Expression though body and limbs 2) Vachika Abhinayam: Expression through speech 3) Aharya Abhinayam: Expression through costume and makeup 4) Sattvika Abhinayam: Expression through Sattvika ( emotions) bhavas SELF- ASSESSMENT QUESTIONS: 1. Define the terms Natya Adavu Abhinaya Page 14 of 22  Unit – IV Anga, Upanga and Pratyanga s according to Abhinaya Darpanam OBJECTIVE:  To give the students the first introduction of divisions of body in dance. Angas All major parts of the body are the Angas.  Siras - head  Hastas - hands  Vaksha - chest  Parswa - shoulders  Kati - waist  Pada - feet  Griva - neck These are the parts that are considered as the Angas. Upaanga  Drishti - eyes  Bhru - eyebrow  Tarakas - eye balls  Nasika - nose  Kapolas - cheeks  Hanu - jaw  Adhara - lips  Dasanas - teeth  Jihwa - tongue  Cibuka - chin Page 15 of 22 Pratyangas  Skanda - shoulder  Bahu - arm  Prshtam - hip  Uru - breast  Jangha - shank  Manibandha - wrist  Janu - knee  Kurpara - elbows The movements of Prathyangas and Upangas depend on the movements of Angas that is why the nature and the functions of all the limbs are not being described. SELF- ASSESSMENT QUESTION: 1. Write the names of any Three angas, Any five upangas and Any four pratyangas Page 16 of 22  Unit – V Asamyutha and Samyutha hastas as per Abhinaya Darpanam OBJECTIVE: 1. To introduce the important and basic hastas of dance. Asamyutha Hasthas – Abhinaya Darpanam Sloka: “Patākastripatākō ardhapatākaḥ kartarīmukhaḥ mayūrākhyō ardhacandraśca arālaḥ śukatuṇḍakaḥ muṣṭiśca śikharākhyaśca kapit'thaḥ katakāmukhaḥ sūcī candrakalā padmakōśaḥ sarpaśirstathā mr̥ gasīrsah simhamukhah kangulaścālapadmakaḥ caturō bhramaraścaiva hansāsyō hansapakṣakaḥ śandanśō mukulaścēva tāmracūḍastriśūlakaḥ ityasamyutahastānāmaṣṭāvinśatirīritā” Names & Meanings: 1. Pathaaka : Flag 2. Tirupathaaka : Triangular flag 3. Ardha Pathaaka : Half flag 4. Karthari Muka : Scissors head 5. Mayura : peacock 6. Ardha Chandra : Half moon 7. Araala : Bent 8. Shukathunda : Parrot’s head 9. Mushti : Closed first 10. Shikara : Peak Page 17 of 22  11. Kapitha : Wood apple 12. Katakamukha : Bracelet 13. Suchi : Needle 14. Chandra Kala : Digit of the Moon/Crescent moon 15. Padma Kosha : Lotus bud 16. Sarpa Shirasa : Snake’s face of head 17. Mriga Shirsha : Deer’s face of head 18. Simha Mukha : Lion’s face 19. Kangula : Bell 20. Alapadma : Full bloom lotus 21. Chathura : Square of four sides 22. Brahmara : Bee 23. Hamsasya : Swan’s face 24. Hamsapaksha : Swan’s wing (or) Wings of a swan 25. Sandamsha : Pincers/to repeat again and again 26. Mukula : Flower bud 27. Thamrachooda : Plum of cock 28. Thrishoola : Trident (A weapon) Samyuta hastas “An̄ jaliśca kapōtaśca karkaṭaḥ svastikastathā ḍōlāhastaḥ puṣpapuṭa utsaṅgaḥ śivaliṅgakaḥ kaṭakāvardhanaścaiva kartarīsvastikastathā śakaṭaṁ śaṅkhacakrē ca sampuṭaḥ pāśakīlakau matsyaḥ kūrmō varāhaśca garuḍō nāgabandhakaḥ khaṭvā bhēruṇḍakākhyaśca avahittasthataiva ca caturvimśati saṅkhyākaḥ samyutaaḥ kathitaḥ karaaḥ” Page 18 of 22 Names & Meanings: 1. Anjali : Salutation 2. Kopotha : Pigeon 3. Karkata : Crab 4. Swastika : Crocodile 5. Dola : To relax 6. Pushpaputa : Hand full of flowers 7. Utsanga : To Cover 8. Shivalinga : The idle of lord Shiva 9. Katakavardhana : Two katakas crossed 10. Karthariswastika : Hands crossed with karthari 11. Shakata : Teeth of a demon 12. Shanka : Conch 13. Chakra : Wheel 14. Samputa : To hide (or) Box 15. Paasha : Rope (or) quarrel (or) Fighting 16. Keelaka : Friendship 17. Matsya : Fish 18. Koorma : Tortoise 19. Varaaha : Pig 20. Garuda : Eagle 21. Naagabandha : Snakes Together 22. Khatva : Bed (or) Cot 23. Bherunda : Pair of birds 24. Avahitham : Showing the chest/to hold things in your hand (Source – Sambasiva, Munukuntla, Gateway to Kuchipudi, Nishumbhita Publications, e/d – 2010) Page 19 of 22 SELF ASSESSMENT QUESTIONS: 1. How many Single hand gestures are there? Name them 2. Write any 15 Samyuta Hastas? FILL IN THE BLANKS: 1. Pataka is a............. hasta 2. Kapota is a............hasta 3. Mayura hasta denotes............ 4. Hamsasya hasta denotes....... 5. Anjali hasta denotes............. Page 20 of 22  Unit – VI Pada Karma of Natya Sastra OBJECTIVE:  Introduction of the basic leg movements in dance. Slokam: “Udghattitaha Samamchaiva tathaagratala sancaraha Ancitaha kunchitaha suchi pada shoda prakeertitatha” According to Bharatas NATYA SATRA, there are six basic foot positions. These basic positions are like the fundamental footstones for doing the further advanced foot movements like the Sthanakas, Caris, Karanas and Mandalas. The following are the names and definitions of the foot positions 1. Udghattitam The heel raised, toes pressing the ground and then the heel pressing the ground is Udghattitam. 2. Samam The feet kept in a flat position (natural position) is Sama. 3. Agratala sancaram The heel is raised with the toes pressing the ground and moving on the ground. 4. Anchitam The heel is touching the ground, with the toes raised. 5. Kunchitam The heel is raised and the toes touching the ground. 6. Soochi padam The heel raised and only the big toe touching the ground. (Source – Sambasiva, Munukuntla, Gateway to Kuchipudi, Nishumbhita Publications, e/d – 2010) SELF- ASSESSMENT QUESTION: 1. Write the names of Asamyuta and Samyuta hastas as mentioned by Nandikeswara in Abhinaya Darpanam Page 21 of 22 References: 1. P.S.R. Appa Rao, Abhinaya Darpanam of Nandikeswara, Natyamala Publications, e/d- 1997). 2. Sambasiva, Munukuntla, Gateway to Kuchipudi, Nishumbhita Publications, e/d – 2010. Page 22 of 22