Classic East Indian Dance

1. Classic East Indian Dance

2. India • Social, economic, and political factors along with the geography of the subcontinent have played an important part in history of Indian dance. • Indian subcontinent extends southward from the Himalayas to the Indian Ocean; it is bounded on the west by the Arabian Sea and on the east by the Bay of Bengal. Eastward and northward lie sea routes to Indochina and to China.

3. Dance and Cultural History • Aryan people began entering the Indian subcontinent around the second millennium BCE and came from Central Asia. • They encountered both city and forest dwellers. • They were nomadic herdsman, priests, and warriors with a complex literary and ritual culture. • Religion and other major facets of the civilization of the invaders spread gradually throughout India.

4. Dance and Cultural History • The Aryan’s succeeded in uniting many ethnic and linguistic groups under an integrated culture. • The documented dance and theater history of India begins at least as early as the first centuries of the Christian era. • Indian dance is often claimed to the period of Vedas, the sacred scriptures of Hinduism. • Historical evidence suggests Indian dance really begins with the final compilation of Natyasastra of Bharata, a treatise probably composed between the second and fourth centuries CE. • The Bharata’s Natyashastra is the most important source for establishing the characteristics of Indian drama. (natya means drama or theatre, shastra means text)

5. Classical Dance • In India, most all classical dances evolved as a temple art. Dance was one of the mediums of worship. The dancer performed facing the idol of the God. Thus the reason Indian classical dance is primarily a solo based art. It is only now that ballets or group dances are popular. But still, true classical Indian dance remains as a solo performing art.

6. Bharata Natyam • Solo dance tradition of female temple dancers (devadasis) of the state of Tamil Nadu in South India. • Was performed mainly in the temples of the god Siva in Tamil Nadu. • Genre evolved between the 13th and 15th centuries when Muslim invaders destroyed the temples of North India.

7. Bharata Natyam • It attained it’s present form in the first quarter of the 19th century. • Four famous brothers, authorities on dance and music who served in the court of King Sarfoji II gave this style its present format and repertory and also codified it. • Within the scope of bharata natyam are all three aspects of Indian dance, nrtta, nrtya, and natya.

8. Nrtta • Nrtta, or pure dance, is the expression of rhythmic movement primarily through use of the hands and feet often in specific poses. • These movements are not designed to convey any particular meaning, emotion, or theme. Their purpose is to create a collage of rhythmic lines, forms and shapes for the sake of their own art - to share the beauty of the abstract form. • The draw to the dance lies in the exactness of the interpretation of instruments through the mastery of the footwork and coordination with that of the hand and body.

9. Nrtta • Nrtta helps in improving dancer's stamina and his skill over rhythm. • Both Indian music and dance are based on the concept of tala (cyclic rhythm characterized by the number of beats). • The simplest manner in which to explain this is by way of time. Time is divided into units (minutes) and then into sub-units (seconds). Similarly tala can be divided into a units and sub-units. There are various types of tala and the total number of units contained usually distinguishes them from one another.

10. Nrtta • Rhythmic patterns of the hands and feet are interwoven with the notes of the musical instruments. • While a dancer executes these movements, he has to keep a precise balance between the two elements, vigorous and the gentle. • For example, in most Indian classical dance styles, stamping of the feet is a common feature. A set of stamps should consist of both hard and soft ones. An imbalance in them will result in the movements looking either too harsh or too lifeless.

11. NrtyaInterpretive Dance • This form uses gestures and facial expressions to show the poetic or emotional meaning while combining rhythmic gaits and postures. • Here, the systematic gesture language occupies an important place. It is just like the language used by the hearing impaired, with the exception that it is more stylized. • The actor in ancient Indian theatre had to be well versed in the form of dance, therefore it is quite natural that he must have a mastery over the gesture language.

12. Nrtya • One of the most important records of Indian Dance is the 12th century treatise called the Abhinaya Darpana which refers to the mirror of gestures. • It lays down single and double-handed gestures used for showing objects, actions, emotions, standing and sitting postures, leaps, jumps and gaits. • When it comes to improvised choreography, Nrtya occupies an important place. To illustrate, if the dancer is dancing a love song, he is expected to explain the literal meaning of those lyrics and therein lies the real test of imagination i.e. spinning out a story and making the audience see various shades of emotion through his story.

13. Nataya • Pure story telling, stressing the dramatic aspect of the dance.

14. Bharata Natyam • The sequence of performance is harmoniously balanced among the three aspects. • Invocation (alarippu), rhythmic pattern (jatisvaram) fall into the category of nrtta. • sabdam intersperses rhythmic sections with phrases that praise and describe a kind or deity, and varnam the longest most complex segment, constitute nrtya. The varnum is a song addressed to a god or hero.

15. Bharata Natyam • The second half of the program presents the natya category. • padam: love lyric usually erotic in mood, portraying emotions as hope, despair, jealousy, anger, and ecstasy. • javali: same genre but lighter in nature and both melody and rhythm are lighter. • krithis: devotional and glorify a deity, as do slokams. • The concluding number, the tillana, a cascade of pure rhythm, displays the dancer’s mastery of the rhythmic aspect.

16. Bharata Natyam Training Methods • A student begins training with the practice of basic dance units (adavus) which range from eighty to one hundred. • These are steps for the feet combined with hand gestures (mudras), with the addition of head (shiro bheda), eye (drishthi bheda) and neck movements (greeva bheda). • The lines of the body are very important to the dance and have a noble, geometrical angularity combined with well balanced symmetry.

17. Basic Stance • Body is lowered, knees bent and turned out widely and the heels come close together, with the feet pointed outward. • The arms are stretched to the side and in certain movements the body is curved. • The torso can be held erect or slightly inclined. • The footwork is forceful and requires hard and exact contact with the floor.

18. Hand GesturesHastas or Mudras • The symbolic hand gestures are taken from the second century text The Mirror of Gestures (Abhinaya-darpana) and are called hastas or mudras. • There are 28 one handed hastas and 23 two handed hastas.

19. Music • The literary content of the songs is danced from songs in classical Sanskrit or from modern southern Indian languages. • Some of the composers are anonymous, but several songs are compositions of the saint composers of southern India. • The songs are set to the classical southern Indian Karnatic mode and are performed by and ensemble of musicians conducted by a guru (nattuavanar).

20. Music • The guru sets the rhythm with a pair of cymbals and chants or recites the rhythmic passages. • In addition to a singer and a percussionist there may be one or more instrumentalists playing a stringed instrument (vina), flute, or violin.

21. Costumes • In the past, the costumes were saris draped over a pair of pajamas or pantaloons, with one end passed between the legs and tucked into the waist. • The modern costume is more tailored with close fitting pantaloons. • A decorative pleated fan in the front is joined to the legs, and a blouse with a veil draped over it covers the torso. • Costumes are made of silk and jewels and adorn the dancer from head to toe. Bells are worn around the ankles and are an essential part of the performance.

22. Journal Reflection #1Classical Indian Dance • What connection to classical Indian dance mudras (hand gestures) can you make to hand gestures in American culture? • What are the similarities of classical Indian dance to other dance forms you have studied?

23. Classic East Indian DanceDay 2

24. Epic Sources of Indian Dance • The legends that form the basis of many dances of India are found in two great epics, the Mahabharata and Ramayana.

25. Mahabharata (Dance Drama) • Longest epic poem in any language consisting of 90,000 verses arranged in 18 sections (parvans). • Credited to sage Vyasa • Story: Elephant-headed diety, Ganapati wrote it down as Vyasa dictated. • Main story takes place in North India and concerns the great war between Pandavas and their cousins (the Kauravas). • Relates strife of Dhrtarastra (Kaurvas family). Dhrtarastra was supposed to be crowned king, but because he was blind this was deemed unacceptable, so his brother Pandu was crowned.

26. Mahabharata (Dance Drama) • Pandu renounced the crown and retired to the forest. Dhrtarastra took over because Pandu’s sons (Pandavas family) were children. Pandu’s sons were taken to the capital and educated along side Dhrtarastra’s 100 sons. When Pandu’s eldest son reached majority he was legally entitled to the thrown. Dhrtarstra’s eldest son (Duryondhana) coveted the thrown for himself. The sons of Dhrtarastra formulated plots against the lives of their cousins. The plots failed and the Pandavas left the capital and wandered from court to court where they met Krishna; who was their uncle and loyal friend.

27. Mahabharata (Dance Drama) • Dhrtarstra eventually gave up the thrown and divided the kingdom between the cousins. This angered his eldest son (Duryondhana) and he invited his cousin (Yudhisthira) to a gambling match where he won all of his possessions (including their joint wife Draupadi).

28. Mahabharata (Dance Drama) • As a compromise the Pandavas were to go into exile for 13 years. When the deal was not kept, the Pandava’s prepared for war. After 18 days of battle only the Pandavas and Krishna remained alive leaving Yudhisthira the undisputed ruler. He ruled for many peaceful years, then passing the thrown to his grandson.

29. Ramayana • Consists of seven books (first and last thought to be later additions) • Author thought to be the poet Valmiki. • Story centers around the figure of Rama (son of King Dasaratha of Kosala). An archery contest was held in the court of King Janaka and Rama won the hand of the King’s daughter, Sita. When King Dasarath gave up the thrown he named his son Rama as heir. One of the King’s wives (whom was promised a *boon years earlier by the king) *(A benefit bestowed, especially one bestowed in response to a request.) demanded her son (Bharata) be named king instead of Rama and requested Rama to be exiled from the kingdom. Rama went into exile to fulfill his father’s promise.

30. Ramayana • Rama’s brother (Laksmana) and his wife (Sita) followed him into exile. Rama’s brother destroyed many demons who were trying to disrupt holy sacrifices in the forest. One day a demon appeared before them as a beautiful woman named Surpanakha (sister of Ravana, ruler of the demon kingdom). She attacked them and Laksmana severely wounded her. She left vowing vengeance. Ravana’s brother retaliated by kidnapping Sita.

31. Ramayana • Rama was despondent until he met Sugriva (chieftain belonging to the monkey tribe) and Hanuman (a warrior). Sugriva agreed to help search for Sita and sent his monkey army to find her. Hanuman found Sita in Ravana’s kingdom and was rescued.

32. Ramayana • Because Sita dwelt in another man’s kingdom, people started to doubt her purity. To prove her purity, Sita voluntarily entered the fire as test. Agni, the god of fire, delivered her unharmed, proving her innocence. They all returned back to the capital and Bharata returned the kingdom to Rama. • Rama and Sita are seen as embodiments of virtue and Sita as the perfect Hindu wife (loyal and remains cheerful under all circumstances, wants nothing more to serve her lord).

33. Ramayana • The story has great popularity in India as well as parts of Southeast Asia. • It has provided the theme for numerous Sanskrit dramas, with variations. Other forms of dance and drama also draw on the story for thematic material. • Today more modern vernacular versions of the story also appear in various regions of India and Indonesia.

34. Puranas (belonging to ancient times or ancient tale/legend) • There are 18 Puranas, the ones considered most important are as follows: Visnu Purana, Bhagavata Purana, Agni Purana, Bhavisya Purana, and Vayu Purana. • Mythological material, instruction in ritual observances and details of the legal code are contained in the Puranas. • Dance and dance drama use the myths and legends of Puranas as thematic material.

35. Puranas • Myths involving the god Visnu and Krishna are popular figures used in dance and dance dramas. • The principal sources for these myths are the Visnu Purana and the Bhagavata Purana. • The Visnu Purana appeared around the sixth century; stories of the Krishna are contained in its fifth book. • The Bhagavata Purana is believed to of been written in southern India around the ninth century. The story of Krishna’s life is told in great detail in its tenth book.

36. Puranas • The stories of Krishna provide an endless source of material for interpretation and elaboration. • Relationship of Krishna with the gopis (followers of Krishna) has lent itself to mystical interpretation. The longing of the gopis to be united with Krishna is symbolic of the yearning of the human soul for union with the divine. • Stories of Krishna are most prevalent in Dance Dramas

38. Philosophy of Indian Dance • All matter is composed of 5 elements: fire, water, earth, space and sky • Humans are a part of nature and do not dominate it, but instead exist with it • Continuity of life: no beginning or end • Being human lies in the inner consciousness (body, mind, and spirit) and is reflected in the cosmos

39. Vedas (1500 BC) • Early Indian text/scriptures • Form oldest layers of Sanskrit literature and Hinduism • Different sects developed in Indian subcontinent • Religions that use the Vedas as their leading scripture are called orthodox • Religions such as Sikhisim, Buddihism and Janism don’t accept the Vedas and are referred to as heterodox • Vedas include hymns, incantations, and rituals of ancient India

40. Upanisads (800-400 BCE) • Philosophic texts, give concepts their theoretical foundation • Elaborates on how the soul (Atman) can be united with the ultimate truth (Brahaman) through contemplation, meditation, and doctrine of Karma (cumulative effect of person’s actions) • Describes cosmos as hub and spokes of a wheel • Concept of yoga explained (gathering inward of all energy, mental & physical) so revelation can take place

41. Brahamanas (900-500 BCE) • Commentaries of the Vedas, explains Vedic rituals • Very detailed explanation of how rituals are supposed to be performed and why • Each Brahamanas is associated with a Vedas • In Brahamanas cosmos is symbolized physically by every sound, word, gesture, and object of ritual • Ritual performance involved the whole community

42. Brahamanas (900-500 BCE) • Example of ritual act: Yajana, explains how to design a consecrated space by establishing a center with in an enclosure and lighting fires within each of the 3 alters. • Alters in the shape of a circle, semi-circle, and square. • Ritual acts symbolize sacrifice of the body which takes place over a prescribed amount of hours or days. • Purpose of yoga and yajana: achieve harmony, equilibrium, and tranquility. Recognize human capacity of introspection and growth. • Life and death are part of the same continuum

43. Indian Theory of Aesthetics • First referred to in Bharata’s Natyasastra • Purpose: to establish rules for artistic performance through which the audience might achieve supreme joy or release from the world of illusion.

44. Indian Theory of Aesthetics • First referred to in Bharata’s Natyasastra • Purpose: to establish rules for artistic performance through which the audience might achieve supreme joy or release from the world of illusion.

45. Indian Theory of Aesthetics • Theory know as Rasa (religious or artistic essence) 3 part process • Vision of artist • Content, form, and technique of artistic expression • Audience experiences joy

46. Indian Theory of Aesthetics • Artist’s inner vision must resemble state of mystical bliss (brahmananda) • Artist’s state of concentration described as yoga (release from pain and pressure of life) • Believed artist sees white light with inner eye

47. Indian Theory of Aesthetics • Artist’s responsibility to convey this experience to the audience through sound, gesture, word, movement, mass, line, color, and symbols. • Every part of the work relates to the whole • Characters in art become archetypes (An original model or type after which other similar things are patterned; a prototype )

48. 9 Dominant moods (rasas) and emotions (bhavas) of archtypes • eroticism (srngara) • pathos or compassion (karuna) • heroism (vira) • fierceness (raundra) • laughter (hasya) • fear (bhaya) • disgust (vibhatsa) • wonder (adbhuta) • tranquility (santa)

49. Dominant moods • In addition there are transient emotions • Two kinds of emotions presented through archetypal characters of gods and humans in dance, drama, music, poetry, sculpture and, and painting • Three step process: experience, expression, evocation • “How can we know the dancer from the dance?” – Yeats

50. Themes • Highly literary in character • Draws upon sources of Indian mythology, legend, and epic poetry • Poses of Indian dance based on Indian sculptures • Gestures are symbolic and derived from ancient rituals specified in Brahmanas • Music and rhythmic patterns of dance are the classical ragas and talas