Professional Documents
Culture Documents
CLASS – VI
DANCE
Introduction to Dance
TEACHER’S MANUAL
UNIT - I
CONTENT:
l Introduction to dance
- Definition of dance
- Different kinds of dances
l Introduction to classical dances
- Names of the classical dances and place of
origin
- Basic movements and relation to beat
- How to begin dance and the concept of respect
for the Guru, mother earth and the audience
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UNIT-I : Introduction to Dance
SCOPE
This unit will provide the students with basic familiarity with definition of
dance and types of Indian dances both classical and other forms of dance.
Some descriptions of how dances vary in other parts of the world will also be
discussed. It will lead to a deeper understanding of the various forms of
dances and the basic concepts related to learning of any specific dance.
Students will also learn that dance can also be free expression such as in
popular dance while some modern and contemporary dances devise their
own choreographic style. Dance allows people to discover, explore and
develop their natural instincts for movement, enabling students of dance to
develop not only highly coocrdinated motor skills but also their mental and
emotional personalities.
Dance in India has a rich past that has many given styles with strong roots in
the Natya Shastra, which is a book about the different arts written in the
ancient times. This book is a treatise for all the performing arts and contains
information about grammar of the arts and the rulea related to performance
and presentation. Sculptural evidence from all parts of India and the
surrounding regions points to a rich tradition of dance and music that
flourished over a thousand years ago. All over ancient India, it would seem,
dance and music were seen not merely as ways to celebrate but also as
offerings of worship and offering to the divine. Provide students the
information that in India, over the course of time, the dance forms have
acquired a distinct identity according to the geographic, socio-economic,
and political conditions of each region. There has been support from the
Ministry of Culture with the setting up of agencies such as the Sahitya Natak
Academy, Sahitya Kala Parishad in providing support to the development of
the arts.
Learning Objectives:
The unit will enable the learners to:
l Understand the concept of dance and the various kinds of dance forms
such as classical, folk, popular, modern and contemporary.
l Be familiar with the names of classical dances and the place of origin
l Understand the basic movements and the relation to beat
l Understand how to begin dance and the concept of respect for the
Guru, mother earth and the audience
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UNIT-I : Introduction to Dance
INTRODUCTION TO DANCE
Definition of dance
Dance is a form of art that uses the body to feel, express and perform through
movements to the rhythm of music and beat. The movements vary in tempo
and mood set by different melodies. There are many forms of dance such as
classical, folk, western or modern. The classical dance forms have a specific
character and follow a system of set rules for hands gestures and body
postures.
There are many kinds of dance, each with some form of religious
background which follows a system of set rules for hands gestures and body
postures. Though different, they all convey meaning using every part of the
body. Eyes, hands, legs, feet, and face come together in the dance through the
use of movement, gesture and body language to portray a character,
situation and music to set mood and tell a story or an abstract concept to the
audience. It is a form of non verbal communication where the language the
dancer speaks is through his/her gestural vocabulary and facial expression.
Definition of what constitutes dance are dependent on social, cultural,
aesthetic, artistic and moral constraints and range from functional
movement (such as folk dance) to virtuoso techniques such as ballet. Dance
can be participatory, social or performed for an audience. Dance can embody
or express ideas, emotions or tell a story.
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UNIT-I : Introduction to Dance
Activity - 1
Collect films from NCERT on few famous dancers to expose students to the different
styles of dance. Films can also be downloaded from youtube.
Invite visiting performers from different regions for special lecture demonstrations.
Begin the basic of dance exercises and familiarise the students with the basic dance
movements and hand gestures
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UNIT-I : Introduction to Dance
2. FOLK DANCES
Folk dances – Is a form of dance developed by a group of people that reflects the traditional life of
the people of a certain region. Folk dance originated in 18th century. These dances don't have
stringent rules and are sometimes formed spontaneously among groups of people.
The steps of folk dances are passed through generations and are usually associated with social
activities.
Some names of folk dances from different regions
a. Assam - Bihu
b. Gujarat - Garbha, Dandia, Raas
c. Karnataka - Yakshagana
d. Maharastra - Lavani
e. Manipur - Thang Ta, Dolcholam
f. Orissa - Gotipua, Chau
g. Punjab - Bhangra, Giddha, Jhumar
h. Rajasthan - Ghumar, Bhavai
i. Tamil Nadu - Kummi, Kolattam, Puliyattam, Karagam, Therukoothu
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UNIT-I : Introduction to Dance
Activity - 2
Students can be asked to study the folk performances of any two regions. Their
understanding would be enriched with the descriptions about performance and
festivity. The information can be collected from families belonging to specific
regions or from the internet sites. Encourage the blend of the two methods to collect
information.
Teach the students one folk dance that they can easily learn
3. CONTEMPORARY DANCE
The term contemporary dance is sometimes used to describe dance that is not in any of the
traditional classical, jazz or ballet forms but is a natural creation of movement. The characteristic of
contemporary dance is often a series of movements that have an awareness beat and rhythm but is
beyond limits of any specific form. Contemporary dance is a very interpretive style of dance that
focuses on unconventional movements. It was considered unconventional because it shifted away
from classical ballet and lyrical dance forms. Contemporary dancers were considered
revolutionary, pulling from non-western styles such as African or Asian styles of dancing. Unlike
classical ballet, contemporary dance does not have fixed movements; instead it is a search for new
forms and dynamics. It focuses on oppositional movement, alignment, raw emotion, and
systematic breathing. At times both modern dance and contemporary dance may be reminiscent of
physical exercise, formations and other choreographic imagination.
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UNIT-I : Introduction to Dance
4. MODERN DANCE
Modern is a term used to describe contemporary dance. Modern dance centre's on a dancer's own
interpretation instead of structured steps, as in traditional ballet dancing. A modern dancer does
not necessarily follow the classical ballet stance of an upright, erect body, often opting instead for
deliberate falls to the floor. Modern dancers express their innermost emotions through dance, often
becoming closer to their inner-selves. Before attempting to choreograph a routine, the modern
dancer decides which emotions to try to convey to the audience.
5. POPULAR DANCE
Popular dance is expression of people's joy to film music. In current times Bollywood music has
received a worldwide acclaim and use in small festivities and family rituals. Young children and
family members play music and move to the beat of film songs. The ease of owning musical players
helps to bring music to the homes and add to expressing through the body. Usually a person's
dancing to popular music and creating popular dance does not emerge from any training but is
natural response to the beat and rhythm of the film songs.
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UNIT-I : Introduction to Dance
Activity - 3
a) Demonstrate simple movements of the dance asking the students to follow.
Preferably have a classroom mirror so that the students can watch how they are
able to coordinate their body movements.
b) Encourage students by giving them practice to different beats in exercise and
steps.
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UNIT-I : Introduction to Dance
Classical dance forms: origin and features
BHARATANATYAM
Bharatanatyam is generally listed as the oldest form of classical Indian dance that has originated in
the temples of Tamil Nadu in South India, where it was intended to honour and worship God. Even
today, there is a great deal of the original religious influence, as every performance begins with a
danced prayer to God and an "Alarippu", in which the dancer presents and dedicates the body to
God. The name comes from "bha", meaning emotion (Bhava), "ra", meaning melody (Raga), and
"ta" meaning tal (Tala), or rhythm.
A Bharatanatyam dance recital can be a solo performance and can be performed in a group as well,
but the dancer is accompanied by “instrumentation (like percussion, string and wind instruments)
and a vocalist who sings and a nattuvanar who recites the words and the beats of the drums. It is a
mixture of pure dance and dance to tell a story. During the dance, the performer keeps the upper
body upright while the legs are held in a bent-knee, turned out position. It is this posture of the
dance that gives it an angular stance that moves to the neat and lyrics mesmerising the viewers. A
Bharatanatyam recital has a definite order of pieces, each with a purpose and time signature. Many
of the Bharatnatyam postures have influenced the ancient sculptures in the Hindu temples.
Performed in the earlier times by devadasis by girls who had devoted themselves in the service of
God, the dance in recent times has moved out of the temples and is learnt as an art by girls as well as
some boys.
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UNIT-I : Introduction to Dance
KATHAKALI
Kathakali is a type of dance-drama that comes from Kerela, located in South India. It is thought to
have originated in the 17th century and has its roots in Indian mythology. It is called a "dance-
drama" because the dance is not always the main focus. Instead, the performer tells a well known
story from Hindu epics or scriptures using facial expression and specific hand gestures. Kathakali
is a highly stylised form of dance.
The costumes for Kathakali are quite elaborate: for instance, dancers wear huge, rounded skirts.
Their headgear may be made out of carved wood and the heavy makeup often takes hours to apply.
Much of the story that accompanies the dance is told by singers accompanied by precussion
instruments. It is said that there are 101 stories that are performed by Kathakali dancers, many of
which are stories from the Mahabharat or the Ramayana. The performances take place in the
evening and often the elaborate makeup for the next performance is done while the dancer is
resting.
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UNIT-I : Introduction to Dance
ODISSI
Like the other Indian dances, Odissi originated in temples, as a way to honour God. It may have
originated in the 2nd century B.C in Orissa. Odissi dancing also maintains a tie between the dance
and the sculptures on the ancient temples and caves of India. Defined poses are often held before a
smooth and flowing transition to the next section of the dance. Many dances and dance music
follow the popular story of Radha and Krishna (Geeta Govinda), or other ancient stories of love.
Distinguishing positions of Odissi dance include the balanced standing position; the "tribhanga",
in which the head and hip are thrust to one side while the upper body angles in the other direction;
and the "chauka", where the toes and legs are pointed to the sides and the feet are slightly apart with
knees bent. The dancer wears silver jewelry and a sari that has been stitched to hold in position.
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UNIT-I : Introduction to Dance
Activity - 4
As students continue to practice what they are learning as basic steps, they can be
familiarized with differences in different styles. Make children watch a couple of
films such as Odissi or kathak or Kuchipudi and note differences in style, use of body
or other features.
KATHAK
Kathak dancing comes from northern India. It is thought to have originated with traveling
storytellers called Kathakaars. They told mythological stories using hand gestures, instruments,
and vocal music. Kathak dancing today is accompanied by percussion instruments that set
complex rhythms that the dancer must match. Both men and women perform Kathak.
Kathak is known for its fast footwork, complex rhythms, and the many spins executed by the
dancer. The turns often end in defined poses. The dancer wears strings of bells on the feet, like
Bharatanatyam, and must use different parts of the foot to create different sounds. This means that
any single step taken by a Kathak dancer is really a set combination of up to 12 steps that must
follow strict rhythm. The choice of step to create sound is coordinated with the instrumentalist.
Unlike other forms of Indian dance, the emphasis in Kathak is clearly on footwork. Kathak has
many varying styles such as the Jaipur ghrana or the Lucknow ghrana. The dancer's costume varies
according to the gharana the student hails from. Kathak dance also comprises of pure dance as
well as “bhava” nritya. This dance was patronised a lot by the Mughal Kings.
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UNIT-I : Introduction to Dance
KUCHIPUDI
The dance form Kuchipudi developed in what is now known as the state of Andhra Pradesh in
southern India. Kuchipudi derives its name from the village Kuchelapuram, where it was nurtured
by great scholars and artists who built up the repertoire and refined the dance technique. The
technique of Kuchipudi makes use of fast rhythmic footwork and sculpturesque body movements.
Stylized mime, using hand gestures and subtle facial expression, is combined with more realistic
acting, occasionally including dialogues spoken by the dancers. In this blend of performance
techniques, Kuchipudi is unique among the Indian classical dance styles. Kuchipudi today is
performed either as a solo or a group presentation, but historically it was performed as a dance
drama, with several dancers taking different roles. The themes are mostly derived from the
scriptures and mythology, and the portrayal of certain characters is a central motif of this dance
form. One example is Satyabhama, the colourful second consort of Lord Krishna. Another unique
feature of Kuchipudi is the Tarangam, in which the performer dances on the edges of a brass plate,
executing complicated rhythmic patterns with dexterity, while sometimes also balancing a pot of
water on the head. Kuchipudi is accompanied by Carnatic music. A typical orchestra for a
Kuchipudi recital includes the mridangam, flute and violin. A vocalist sings the lyrics, and the
nattuvanar conducts the orchestra and recites the rhythmic patterns.
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UNIT-I : Introduction to Dance
MOHINIATTAM
The dance form of Mohiniattam was nurtured in the region of Kerala in southwestern India. The
name Mohiniattam literally means 'Dance of the Enchantress,' and it does have a mesmerizing
quality. The white and gold costume, arresting hairstyle and the highly graceful movements in
medium tempo, contribute to this aesthetic effect.
Mohiniattam is characterized by swaying movements of the upper body with legs placed in a
stance similar to the plie position. The eyes play an important role in accenting the direction of the
movement. Mention of Mohiniattam is found in some eighteenth century texts, but the practical
aspect of the style was revived in the reign of Maharaja Swati Tirunal, a 19th century ruler who was
a great patron of the arts. Under Swati Tirunal, Mohiniattam crystallized as a solo dance tradition
with musical compositions set to the Carnatic style of music and a distinct repertoire. Later, in the
twentieth century, the great poet Vallathol established the Kerala Kalamandalam to promote the
arts of Mohiniattam and Kathakali. Here, further research was done and Mohiniattam was codified
and revived. Over the past few decades, the repertoire of Mohiniattam has been developed and
expanded by dedicated performers who have ensured that this beautiful dance style retains a
distinct identity among the classical dance styles of India. Apart from mythology, Mohiniattam
contains a range of themes from nature.
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UNIT-I : Introduction to Dance
MANIPURI
Manipuri is one of the most beautiful dance styles of India. Nurtured in the mountainous region of
the northeast, it takes its name from the name of the area, Manipur, which is now a state. Manipur
literally means a jewel of a land, and the state is set like a gem in the verdant hills. The legend goes
that the gods drained a lake in the beautiful countryside in order to find a place to dance. No
wonder then, that dance is an inherent part of the rituals of daily life, such as weddings and homage
to ancestors.
The Lai Haroba, a ritualistic dance depicting the Creation, is considered the precursor of Manipuri
as seen today. The Lai Haroba is still an important living tradition, while Manipuri has expanded
and gained popularity as a performing art in group and solo presentations.
Among the important constituents of the Manipuri repertoire are the Sankirtana and the Raas
Leela, based on the devotional theme of Krishna and Radha. The Raas Leela depicts the cosmic
dance of Krishna and the cowherd maidens. The beautiful embroidered skirts of the dancers, long
and flared from the waist, and the translucent veils, along with Krishna's costume with the tall
peacock feather crown, add to the radiant appearance of this dance, as the performers sway and
twirl to an ascending tempo. A vibrant feature of Manipuri is also the Pung Cholam or Drum dance,
in which dancers play on the drum known as Pung while dancing with thrilling leaps and turns to a
fast rhythm.
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UNIT-I : Introduction to Dance
SATTRIYA
Sattriya the core of Sattriya Nritya has usually been mythological stories. This was an artistic way of
presenting mythological teachings to the people in an accessible, immediate, and enjoyable
manner. Traditionally, Sattriya was performed only by bhokots (male monks) in monasteries as a
part of their daily rituals or to mark special festivals. Today, in addition to this practice, Sattriya is
also performed on stage by men and women who are not members of the sattras, on themes not
merely mythological.
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UNIT-I : Introduction to Dance
Activity - 5
Make children listen to music with changing beat and ask them to move in the way
that they would like to respond. Give them a lot of exposure to understand moods in
music and encourage them to explore and move differently to different kinds of
music.
Encourage Students to make a scrapbook on any one dance style with pictures, names
of famous dancers, costumes and the origins of the dance.
As the students acquire this basic knowledge about what is dance and what are the various forms of
dance, it would be very important to do practical exercises and acquire a sense of rhythm by
practising movements to music. Help students identify beat and follow the fast, medium and slow
rhythms. Before beginning any dance help students to learn basic movements and adhere to a cycle
of beats.
Students should also be encouraged to watch films and watch how dancers keep basic body
postures while they dance which helps in creating the images that define particular dance styles.
The transition to stylized movements is easy if the body internalizes the idea of rhythm and beat.
All dance styles begin with basic steps set to specific body positions.
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UNIT-I : Introduction to Dance
Activity - 6
Students should learn atleast ten dance exercises that allows the body to become
flexible. Use of music to create familiarity with beat, melody and mood will also help
students to understand music and movement.
The exrcises can then follow with learning of body postures related to the style of
dance being learnt. Teach 2-3 basic movements such that the body leans the exact
positions and encourage students to form a regime of practice.
It may be important to teach a simple dance for any school event to sustain the interest of the class.
However, the classical form should be taught with the rigour of sustaining the posture, beat and
then repeated practice of the steps. It is also necessary to explain to the students that once the dance
steps are learnt learning of the items becomes very easy. Students also have to be told that the
beginning of dance is a slow process but once the steps are learnt with sincerity it is easy for
learning the more complex sequences such as one you learn the steps and arasa in Odissi the items
are fun to learn as the pure dance parts in items often include the arasa. As a teacher it is advisable to
polish the new learners with practice and supervision.
Beginning of dance: Concept of the guru, mother earth and the audience
Teaching and learning of dance is a based on the notion of Guru Shishya parampara in the classical
dances. In learning of the classical dance the whole basis of the relation between the teacher and the
student is that of respect as in the arts precision is important. Precise moves are possible with
respect and obedience. The following of the exact body position, the pattern of steps, the sequence
of learning has to be maintained to sustain the tradition of the dance form. Therefore the notion of
Guru as supreme in the performing arts. The beginning of dance also follows salutation to Mother
Earth as the dancer needs to be forceful and perform with skill. The prayer known as bhumi
pranam prayer to earth is dancer's way of seeking blessings from mother earth and lastly thanks to
the audience for gracing the performance.
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UNIT-I : Introduction to Dance
Activity - 7
Teach the children the importance of bhumi pranam. Demonstrate each step and
make the children follow. Help them to understand the order and sequence of steps.
Help children to understand that bhumi pranam consists of paying respect to god,
guru, mother earth and the audience.
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CBSE-i
CLASS – VI
DANCE
Movements and Body Postures
TEACHER’S MANUAL
UNIT - II
CONTENT:
l Movements and body postures
- Basic movements and relation to beats
- Concept of taal and the cycle of beats
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UNIT-II : Movements and Body Postures
SCOPE
This unit will enable the learners to go a little deeper and understand the
various body movements and postures which are the most essential part of
dance. It is necessary to communicate to the learners the significance of the
body movements, the beats and thus the relation of the basic movements
with the beats. The notion of beat is very crucial and the student has to keep
practicing it. As the student progresses in dance the beats become
complicated and many new taals are introduced. Taal is a cycle of beats and
the dancers learn to play with beats and create new rhythmic patterns.
Learning Objectives:
The unit will enable the learners to:
l Understand the basic movements and the relation to beats: slow,
medium and fast.
l Understand the concept of taal and the cycle of beats.
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UNIT-II : Movements and Body Postures
Activity - 1
Play any music and ask children to move identifying the beat of the music.Vary the
music so that children learn that different music has different beat. Help children to
understand and identify the beat by clapping, walking with the claps.
The students must keep practicing the steps, mudra and learn the sequence of
movements.
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UNIT-II : Movements and Body Postures
3. Basic steps and movements in relation to the beat at slow, medium and fast
tempo :
As a dance teacher it is important to stress the significance of learning the basic steps. Unless
the students master the initial steps such as take the aramandi position and do tatte tai
thayyam tai (1-2-3--- 1-2-3) the body will not get the rhythm and sense of movement. Similarly
in Kathak it is important to learn ta aa theai theai tat to feel the footwork. All dancers need to
practice the basic steps in all the speeds slow, medium and fast to be able to internalize the
step in the prescribed position of the body and feet. Many times it is important to insist that
students wear comfortable clothes that enable you to see the formation of the body posture
and allows you as the teacher to watch the precision in beat and maintaining the correct body
position.
A class in action
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UNIT-II : Movements and Body Postures
The most common instrument for keeping rhythm in Hindustani music is the tabla. In
Carnatic music, the Mridangam is a stock feature in vocal, violin, Veena and flute concerts,
with the Ghatam, the Khanjira and the Morsing also featuring at times. In Nadhaswaram
concerts, the Thavil takes the place of the Mridangam.
While Indian classical music has a complete and complex system for the execution and
transcription of rhythms and beats, a few talas are very common while most others are rare.
The most common Tala in Hindustani classical music is Tintal. This tala has a cycle of 16 beats
divided in 4 bars. Bars 1,2 and 4 are accented while bar 3 is light. Most talas can be played at
different speeds, but no tala is generally slowed down as much as Ektal, with its 12 beats
sometimes taking more than a minute.
Angas of talam are : 1. Anudruta – 1 akshara kala 2. Druta – 2 akshara kalas
3. Laghu – 4 akshara kalas
A talam is a traditional rhythmic pattern, which does not have a fixed tempo and can be
played at different speeds. Each repeated cycle of a taal is called an avartan. A tala is generally
divided into sections (vibhaags), not all of which may have the same number of beats.
Following are pictures of frequently used instruments.
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UNIT-II : Movements and Body Postures
Activity - 2
Ask students to collect pictures and names of five percussion instruments used in
classical dances. Students can also be asked to collect the names of drums in different
states of India. Students can be asked to name the local percussion instruments
generally used in festivities
Students should continue to learn the classical dance along with one folk dance.
MUDRA
A mudrā (Sanskrit: मुद्रा "seal", "mark", or "gesture") is a symbolic or ritual gesture . While
some mudrās involve the entire body, most are performed with the hands and fingers. In
Indian classical dance the term "Hasta Mudra" (hasta is Sanskrit for hand) is used. The Natya
Shastra describes 24 mudras, while the Abhinaya Darpana gives 28 in total. In all the forms of
Indian classical dance the mudras are similar, though the names and uses vary.
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UNIT-II : Movements and Body Postures
Activity - 3
Help Students to memorize the hand gestures and their names. This usually becomes
easy when done in a rhythmic pattern with a simple melody. Encourage them to use
hamd gestures with steps.
Aramandi in Bharatanatyam
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UNIT-II : Movements and Body Postures
Kathakali, Sattriya, Manipuri or Mohiniattam have their own specifications as well. Practice
of movements in dance-specific postures is a basic skill that any student needs to master.
Activity - 4
Slowly introduce the students to slow, medium and fast pace in rhytmn wih the dance
form. Allow children to take the basic body positions and move slowly keeping the
position of the dance and slowly increase the speed to medium and fast. The students
should now be well practiced in the main five-ten steps and hand gestures. They
should be practicing steps and hands and know that they are learning one classical
form of dance.
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CBSE-i
CLASS – VI
DANCE
Hand Gestures and Body Postures
TEACHER’S MANUAL
UNIT - III
CONTENT:
l Understanding the elements of dance
- Mudra (hand gestures): single hand
- Basic steps of dance forms
- Body positions in dance
l Understand and follow the processes in the
teaching–learning of dance, know what is
Guru-shishya parampara.
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UNIT-III : Hand Gestures and Body Postures
SCOPE
This unit will enable the learner to understand the various elements of the
dance such as the mudras and the basic steps of the dance forms. The body
positions such as Tribhangi, chaulk in Odissi or aramandi in Bharatnatyam
are necessary to master. The mastery of these basic postures and hand
gestures is what will enable the learners to get a holistic view and thus
understand the entirety of the process.
Learning Objectives:
The unit will enable the learners to:
l Understand the various mudras as part of the dance
l Familiarise themselves with the basic steps of the dance forms such as-
Kathak: tukda, toda, tatkar, chakkar, Odissi: arasa, Bharatnatyam: Adavu.
l Understand the various body positions in dance such as Tribhangi,
chaulk, or aramandi.
l Get an insight into the teaching - learning of dance and understand the
Guru-shishya parampara.
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UNIT-III : Hand Gestures and Body Postures
which has the greatest number of combinations, the vocabulary adds up to
900. Sanyukta mudras are mudras that use both hands, and asanyukta
mudras are mudras that use only one hand words. It is important to stress the
need to memorise the mudrain as it will enable the students to learn dance
items with ease and also allow them to create their own dance stories.
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UNIT-III : Hand Gestures and Body Postures
Activity - 1
Create a rhythm as you label the different hand gestures. Make sure that children
repeat as they learn the mudras. Teach the children to use the asmyukta mudra in
combination.
Activity - 2
Encourage children to draw the mudras such that they are able to memorize and are
also able to remember the sequence.
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UNIT-III : Hand Gestures and Body Postures
bhartanatyam and kathakali. They should be able to do small sequences in varying beats and be
preparing to learn an item. They would be learning the specific positions unique to the dance style
Bharatanatyam: The equivalent is adavu. They are steps in Bharatanatyam. The word adavu is said
to have derived from the Tamil root adu meaning to dance. There are different types of Adavus and
the naming also varies according to the style ( Bani ). The styles may vary in the execution aspects eg
- position of head, the way the hand is held etc. Adavu is a fundamental dance unit used in nritta
where hands, feet, head, eyes and other parts of the body move in a coordinated manner. Adavus
belong to the realm of rhythmic movement conveying no meaning or sentiments.
Activity - 3
Give students repeated practice in basic steps of any one dance form so that they
internalize the body movements necessary to learn the dance. For example, If it is
Odissi, help them to understand the difference between chaulk and tribhang and do
basic steps in cycles of two, four, six to coordinate the body positions in movement.
The same principle wil be followed for kathak, bhartanatyam and kathakali. They
should be able to do small sequences in varying beats and be preparing to learn an
item. They would be learning the specific positions unique to the dance style.
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UNIT-III : Hand Gestures and Body Postures
A. Tribhangi, Chaulk : Odissi:
The chowka or chaulk is a half sitting posture in Odissi in which the equilibrium of weight is
maintained but the distance between the two feet is increased. This position is essentially a
rectangular arrangement of the limbs of the body.
Tribhanga or Tribunga is a (tri-bent pose) standing body position or stance used in the traditional
Indian sculpture, art and Indian classical dance forms like the Odissi. As compared with the
contrapposto pose Tribhanga, literally meaning three parts break, consists of three bends in the
body; at the neck, waist and knee, hence the body is oppositely curved at waist and neck which
gives it a gentle "S" shape and is considered the most graceful and sensual of the Odissi positions.
Closely associated with Hindu deity, Krishna, who is often portrayed in the posture.
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UNIT-III : Hand Gestures and Body Postures
B. Araimandi : Bharatanatyam :
It is a very important posture in Bharatanatyam. The Aramandi posture is a half sitting position
with the knees turned sideways with a very erect posture. In this posture the back should not jut
out, the stomach should not protrude and the torso should not bend forward. It's a half sitting
position and should be adjusted according to the height of the dancer. This is the first stance that a
student of dance is required to master to be a good dancer.Kathakali, MohiniAttam and Kuchipudi
also have the basic positions.
In the teaching of dance the steps would be followed as discussed. The actual process would
depend on the form that is being learnt by the students.
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UNIT-III : Hand Gestures and Body Postures
Activity - 4
Revise the basic body positions and help them practice with steps and slowly add
hand gestures.
Create exercises to recognise the symbols in a story and later help them to create small
story lines using hand gestures and ask them which mudras did they use. Help
students to use the different single hand gestures that they have learned to create a
story such as there is a tree, it has flowers and there is a bee hovering around the
flowers and feeling joyful with the nectar. Point to the students that they have used
pataka, alapadma in different ways or any specific hand geture in different ways to
convey meaning through the hand gestures with simple use of movements.
The repeated practice to sequences of dance will slowly prepare the students to begin
learning the dance. Learning the value of prayer is explained now yet it is one of the
first things to be taught in learning the art.
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CBSE-i
CLASS – VI
DANCE
Dance and Society
TEACHER’S MANUAL
UNIT - IV
CONTENT:
l Folk dances and dance schools
- Defining folk dances
- Local dances and popular dances
- Folk songs & dances in different regions
- Famous dance schools
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UNIT-IV : Dance and Society
SCOPE
In most societies the festivity and celebrations are expressed through
collective movements. In different communities people have varied
situations such as farmers express their joys for a good harvest, the fisher folk
are happy to have boat race while the women dance on the beach. Folk
dances exist in all cultures and are ways in which societies express people's
joys and sorrows.
Learning Objectives:
The unit will enable the learners to:
l Understand what are folk dances
l Get information on the various local and popular dances
l Learn about folk songs & dances in different regions and why they are
performed.
l Be able to identify some of the famous dance schools.
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UNIT-IV : Dance and Society
Folk Dances of Kerala
1. Kaikotti Kali / Thiruvathirakali:
Kaikotti Kali folk dance is also known, as Thiruvathirakali.It is a very popular, graceful and
symmetric group-dance performed by the women of Kerala.It is a ceremonial dance often
performed during festive seasons like Thiruvathira and Onam. It is a simple and gentle dance with
the lasya element forming its main part in overall dance. Sometimes, even men also participate in it
as seen in some parts of the Malabar area. This time the thandava part is also brought in dance
performance occasionally.
2. Kolkkali:
Kolkali is a group dance form of the farming community in Kerala. It is a mixed dance in which
both men and women can participate. All the performers move in a circle, striking small sticks and
keeping rhythm with special steps. The circle gets expanded and contracted as the dance
progresses further. When the accompanying music rises at a pitch, the dance reaches at its climax.
Around twelve to twenty four dancers move rhythmically in a circle around the ceremonial lamp,
tapping the two feet long wooden sticks held in their hand.
2. Kathputlis:
Kathputlis are a type of puppets. Rajasthan is famous for its puppet-playing tradition. String
puppets or Kathputli dance in Rajasthan is an old tradition. In this dance the puppeteer uses
ballads to narrate the stories. These stories or tales of romance and chivalry are told with
movements of string puppets. In olden days, puppeteers used to travel from place to place through
various villages to entertain people. Through puppets, the puppeteer tells the stories of legendary
heroes or historic events are narrated through it.
3. Ghoomer Dance :
Ghoomer dance is a community dance of women in Rajasthan. It is performed on various
auspicious occasions like fairs & festivals. It is the famous dance of Rajasthan. It is called as
`Ghoomer`, from the `ghoomna` of ghaghra i.e. the flowing of ghaghra, a long skirt of the
Rajasthani women. The graceful gyrating of ghaghra displays the spectacular colours as it flows
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UNIT-IV : Dance and Society
due to dancing steps. It is basically a community dance of the Rajputs. It is traditionally performed
only by the women. There are simple swaying movements with special kind of footwork, to convey
the spirit of any auspicious occasion. However, there is an amazing grace as the skirt flair slowly
while the women folk twirl in circles, their faces covered with the help of the veil.
Women young or old, can participate in Ghoomar dance. Sometimes it may continue for hours or
whole night. It is considered as one of the traditional rituals among this community. So, on the
occasion of marriage, a bride is expected to dance Ghoomar after welcoming at her husband`s
home.
While dancing, the dancers move in a circular direction with clockwise and anti-clockwise steps.
The performers sometimes unite their hands and even clap their hand in-between. The performers
move gracefully on the beat of the songs in synchronizing steps. As the tempo of the dance
increases, the dancers swirl fleetly.
2. Kolaattam:
Kolaattam is an ancient village folk art, famous in all parts of state. Kol means a small stick, and
Attam means play, so a play or dance performed with sticks` can be its simplest meaning. This is
mentioned in Kanchipuram as `Cheivaikiyar Kolattam`, which proves its antiquity. Only women
participants can perform this dance, holding two sticks in each hand, beaten to bring a rhythmic
background. Pinnal Kolaattam is also a form of this dance where ropes are used instead of sticks.
One end of these ropes is held in women`s hand while the other is tied to a tall pole. In a course of
action, with planned steps, the women skip over each other, which forms intricate lace-like
patterns in the ropes. As various colourful ropes are used, this picture is very eye-catchy. Again,
they unweave the lace by reversing the dance steps. The group coordination of women participants
is rewardable. This is performed for ten days, starting with the Amavasi or Newmoon night after
Deepavali.
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UNIT-IV : Dance and Society
3. Pavai Koothu:
Pavai Koothu is considered as a form of early year`s puppet shows. Some called it as a glove puppet
theatre of the sixteenth century. Pavai means `woman`, koothu means `play`. An appropriate name
as all the stories concern with the feelings of Vali, one of Lord Shiva`s attendants, for Subramanya,
one of Shiva`s sons.
The papier-mache puppets are used for this performance. These puppets are generally one foot tall
in height and wear paper or coconut -fiber garlands. A single person to work as manipulator is
required to monitor the show. His thumb and little finger move the puppet`s arms, the middle
finger works for the head. The language of the show is predominantly Tamil, and the songs are
predominantly folk in nature. The idakka drum and cymbals are used for music of the
performance.
2. Naga Dance:
The Nagas are simple people, can be described well by the term tribal. Its own dialect, customs and
traditional costumes characterize each tribe, with the common link being their passion for music &
dance. The term "Naga" is derived from Sanskrit word "Nag" which means "person belongs to hilly
region or simply hill-men". Nagaland is the home of various hill-tribes among them Popular is
Naga.
The term "Naga" is general which covers many tribes of that region. In fact the Naga is a generic
term that encompasses many tribal communities that are spread all over the hills and plains of
northeast India. Some of the characteristics belongs to a warrior race. They are tall, robust,
hardworking, brave, self-reliant, artistic, freedom-loving, good looking and possess a more
importantly inborn instinct for color and intricate designs even dancing steps. They are also known
for their keen sense of humor as a natural gift, splendid war dances and wealthy folk songs.
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UNIT-IV : Dance and Society
3. Jhummar Dance:
The Jhummar dance is a dance of ecstasy. It is a living testimony of the happiness of men, so
performed only by men. At any time Jhummar is performed but mostly at a time of melas,
weddings and other major functions and celebrations. Performed exclusively by men, it is a
common feature to see three generations - father, son and grandson - dancing all together.
Therefore, in some part it is termed as generation dance. There are three main types of Jhummar
dance, each of which has a different mood, and is therefore suited to different occasions & for all
reason of that predominating mood.
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UNIT-IV : Dance and Society
The general rules that are organized for its performance make it a distinct type. These are related
with religious festivals of the Hindus. The number of players may increase at times up to 100. The
performance is full of various types of body movements that are executed with great artistic skills
and excitement. Sometimes, Mrindanda creates the sounds of thunder, voice of birds and animals.
The movements at initial stage are soft, but later on become momentous and vigorous. This adds to
its characteristics. The performers wear a special type of turban, which they drop by their flicking
of heads and with their movements. These turbans are mostly of light coloured.
This art form is full of stylish movements and ritualistic in nature. Lot of practice is required before
the actual performance is done. It is advised that right from the teenage one must start working in
this direction. The aspirant candidates must engage his worship for decades before he can claim for
recognition.
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UNIT-IV : Dance and Society
The Nongkrem dance festival of the Khasi tribe in India`s northeastern Meghalaya State is a
multipurpose event. With the reason of this event, all tribes of this hilly region area people meet
together from their scattered hamlets. They strongly believe in-group prayer or community
gathering. Through this dance performance, they give thanks to the gods for a bountiful harvest.
They also prey to nature to keep up the timely delivery of rain and ward off evil disasters. The
dancing steps are very simple. Similarly, there is no any kind of agelimit to take part in the
performance.
2. Khuallam Dance:
Khuallam is a dance that is performed at the time of ceremony called `Khuangchawi`. It is also
known as `dance of the guests`. During the `Khuangchawi` ceremony, the invited guests enter the
area performing Khuallam.
Special type of Mizo cloths that are hand woven are wore for the dance. They are generally called as
Puandum. It is wrapped over the shoulders and the dance is performed. In performing various
dancing steps the swaying of cloths is seen. The costumes are colourful, having stripes of black, red,
yellow and green colours. These typical costumes are very much significant in their culture, as
every girl has to take it along with her after getting married. If the husband of her dies, this cloth is
used for covering his body.
The dance is performed with an accompaniment of the sounds of gongs known as darbu`.
Similarly, there is no lyrics for the song that is sung. It is usually performed in large numbers. This
dance can be termed as community dance
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UNIT-IV : Dance and Society
Folk Dances of Bihar
1. Bidesia:
Bidesia is a popular form of dance drama, originated in a twentieth century folk theatre and
prevalent in the Bhojpuri-speaking region of Bihar.It is believed that the creator of this play is
Bhikari Thakur, a person barber by profession (from a backward class), left everything in affection
of drama. His dramas are dealt with many social issues, contradictory topics & conflict between the
traditional and the modern, the urban and rural, and the rich and the poor.
2. Harvesting Dance:
Agriculture is the main source of earning livelihood in Bihar. This fact is reflected in a better way
from all kinds of folk arts. Harvesting is the main field activity while farming. In the harvesting
season, male and female villagers do their work on field & dance with singing. It is believed that
there happiness and joy is the symbol of upcoming good harvest. Such dances are closely
connected with the local culture & tradition.
3. Kajari:
Kajari is a song of rainy season. The popular melodious tune of Kajari songs produces a sweet
sensation in body and it is sung from beginning of the Shravan month with the rhythmic note of
rainy drops. The main content of these songs is about describing pleasant change that is derived by
rainy season. Not only nature get changed in green colour, but mental refreshment & relaxation
that is associated with human beings is also well described in these kinds of songs.
2. Dandia-Ras:
The most popular Dandia-Ras is also known as the `stick` dance. An another form of dance that is
also a feature of most welcomed festival, Navratri.
The word Ras in `Dandia-Ras` signifies Ras dance, which is, considered a form of Ras Leela. Ras
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UNIT-IV : Dance and Society
Leela, which was an inseparable part of Lord Krishna`s childhood action he used to perform at
Gokul and Vrindavan. The Ras is simple and is generally performed by a group of youthful people
who move in typical style in measured steps around a circle, accompanied by a singing chorus and
a host of musical instruments like the dhol, cymbals, zanz, shehnai (flute).
It is one of India`s most popular folk dances & is full of energy and excitement. It is considered that
this dance form is from the Limbdi region of Gujarat (a state in Western India), over a period of
time, the Dandiya Ras has imbibed in all parts of India. Like most folk dances of India, the Ras too is
one of collective impulse and enthusiasm. It`s always performed in a group. In the ancient times,
men essentially performed this folk dance. And it said that Dandia -Ras counterpart to the Garba,
exclusively performed by women. Today it is equally enjoyed and danced by both men and
women.
3. Charkula Dance:
This is the most spectacular dance performance from Uttar Pradesh. It is widely performed in the
Braj region of Uttar Pradesh. In the performance of Charkula, veiled women with balancing a large
multi-tiered circular wooden pyramid on their heads, dance in various steps. The wooden pyramid
is lighted with 108 oil lamps. The women dance on the `rasiya` songs of Lord Krishna., Charkula
dance is especially performed on the third day after the Holi festival- on Dooj. On this day, Radha, a
concert of Krishna was born.
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UNIT-IV : Dance and Society
Folk Dances of Maharashtra
1. Koli Dance :
Koli is one of the most popular folk dance form of Maharashtra State that derives its name from the
fisher folk of Maharashtra - Kolis. These community people are famous for their distinct identity
among others and for their lively dances. Their dances consist of elements from their daily work
related to the fishing. Activity1:
Introduce the various folk dances to the students by showing them pictures and videos of different
folk dances. Let them choose any one dance in addition to the one they are already learning. They
could also create a choreography on popular music using their own rhythmBoth men and women
in a group perform this dance. Both of them make their single row or stand in pair. These fishermen
portray the movement of the rowing of a boat in this dance form. Sometimes, they also portray the
movements of waves and the casting of nets to catch the fish.
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UNIT-IV : Dance and Society
Activity - 1
Introduce the various folk dances to the students by showing them pictures and
videos of different folk dances. Let them choose any one dance in addition to the one
they are already learning. They could also create a choreography on popular music
using their own rhythm.
In India each region has variations as well as certain common ways to celebrate. Whether it's the
farming community, fishing community or the Kalbelias living in the desert in Rajasthan evening
time is collective and spent in singing and dancing.
The class could do projects to study a particular region of India and search out the unique folk
dance. They will discover that different parts of the country present richness of the arts. The North
east is marked by a predominant use of drums, bamboo and even cymbals. The men dance with
drums and give the beat as they perform
Activity - 2
a) Gather different folk songs and introduce them to the students along with
providing the basic meaning
b) Teach the students at least two full dance with meaning and encourage them to
explore the different folk dances
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UNIT-IV : Dance and Society
Activity - 3
Ask students to collect names of institutions where children can be trained for
learning dance. The names of several of the institutions are listed on the net.
Activity - 4
Collect videotapes from CCRT or Arts and Aesthecis department in NCERT and
screen them to the students to give demonstration about how children learn dance.
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