Indian classical dance

Indian classical dance. It is a collective term for various codified performance arts rooted in the Hindu textual tradition, particularly the ancient Sanskrit treatise the Natya Shastra attributed to Bharata Muni. These dance forms, which integrate narrative storytelling, spiritual symbolism, and precise technique, are recognized as a distinct genre by India's Sangeet Natak Akademi. The classical repertoire encompasses eight major forms, each with a strong regional identity and a history of both temple ritual and courtly patronage.

Origins and history

The theoretical foundations are detailed in the Natya Shastra, a comprehensive work on dramaturgy likely compiled between 200 BCE and 200 CE. This text systematizes concepts like rasa (emotional essence) and bhava (emotional state), which remain central to performance. Historical evidence from sources such as the Tamil epic Silappatikaram and sculptures at temples like the Brihadeeswarar Temple in Thanjavur and the Konark Sun Temple attest to a vibrant dance culture. The medieval Bhakti movement further enriched the devotional content of many forms. During the British Raj, classical dance faced colonial disapproval and decline, setting the stage for a major revival in the 20th century.

Major classical dance forms

The eight forms officially recognized by the Sangeet Natak Akademi include Bharatanatyam from Tamil Nadu, which is known for its geometric lines and sculpturesque poses. Kathak, originating in North India, evolved in the courts of the Mughal Empire and is distinguished by intricate footwork and spins. Kathakali from Kerala is a highly stylized dance-drama known for elaborate makeup and costumes depicting characters from the Hindu epics. Kuchipudi from Andhra Pradesh often combines dance with dramatic dialogue. Odissi from Odisha is characterized by fluid, tribhanga (three-bend) postures, with roots in the rituals of the Jagannath Temple. Mohiniyattam from Kerala is a lyrical, feminine solo form. Manipuri from Manipur is deeply devotional, centered on themes of Radha and Krishna. Sattriya from Assam was preserved for centuries within the Vaishnavite monasteries established by the saint-reformer Srimanta Sankardev.

Key elements and features

All forms share core components outlined in the Natya Shastra. Nritta is pure, abstract dance focusing on rhythm and movement. Nritya is expressive dance, using gestures and facial expressions to interpret a lyric. Natya is the dramatic element. Critical to expression is the vocabulary of hand gestures known as hasta or mudra, codified in texts like the Abhinaya Darpana. The dancer's facial expressions, or abhinaya, convey the narrative and emotional states. Movement is anchored in a stable, bent-knee position called aramandi in Bharatanatyam or chauk in Kathak. The intricate coordination of footwork, eye movements, and posture is a hallmark of rigorous training under a guru in the traditional gurukula system.

Costumes and jewelry

Costumes are highly distinctive and region-specific. Bharatanatyam dancers wear a tailored sari of bright silk with a pleated fan at the waist, while Odissi attire includes a similar brightly colored sari with a distinctive belt. Kathak dancers traditionally wear an angarkha or churidar with a flowing skirt. Kathakali costumes are monumental, with oversized skirts, layered jackets, and elaborate, mask-like makeup called chutti. Jewelry is extensive and integral; a Bharatanatyam dancer wears a headpiece (rakodi), necklaces, armlets, waistbands, and ankle bells (ghungroo). The Manipuri costume for themes of Krishna includes a tall, cylindrical skirt and a delicate, translucent veil. These adornments, often crafted by specialized communities in centers like Nagercoil, enhance the visual spectacle and symbolic resonance of the performance.

Music and instruments

The dance is inseparable from its accompanying Carnatic or Hindustani classical music tradition. A typical ensemble includes a vocalist, a percussionist, and a melodic instrumentalist. The primary percussion varies: the mridangam is central to Bharatanatyam and Kuchipudi, the pakhawaj or tabla to Kathak, and the khol to Sattriya and Manipuri. The melodic accompaniment is often provided by instruments like the veena, violin, or sitar. The nattuvanar (conductor) in Bharatanatyam plays the talam (cymbals) and recites rhythmic syllables. The musical composition, whether a varnam, thumri, or prabandha, dictates the structure and emotional arc of the dance, with the dancer interpreting the lyrics and rhythm in a dynamic dialogue with the musicians.

Cultural significance and revival

These dances have historically served as vehicles for mythological storytelling, spiritual devotion, and cultural preservation. The early 20th-century revival, led by figures like E. Krishna Iyer and Rukmini Devi Arundale for Bharatanatyam, rescued several forms from obscurity and reformed their presentation for the modern proscenium stage. Institutions such as Kalakshetra Foundation in Chennai and the Kathak Kendra in Delhi were established to provide formal training. Today, dancers like Alarmel Valli, Sonal Mansingh, and Daksha Sheth continue to innovate within the tradition. The global spread of these arts is facilitated by festivals like the Khajuraho Dance Festival and organizations such as the Indian Council for Cultural Relations, cementing their status as vital, living embodiments of India's intangible cultural heritage. Category:Indian classical dance Category:Performing arts in India Category:Dance in Asia