INDIAN ART AND CULTURE by Rahul Sengar Sir (TOPIC COVERED: DANCES OF INDIA) CLASSICAL DANCE Originated Mostly in temples. + Main Aim: Worshipping, +The roots can be traced from the Sanskrit text ~ ‘Natya Shastra’ + Bharat Muni traces its origin from lord Bramha and dictated that Lord Bramha created a fifth veda known, as ‘Natyaveda representing the essence of four existing Vedas. + Pathya (words) were taken from Rigveda, Abhinaya (gestures) from Yajurveda, Geet (music) from Samaveda, Rasa (emotions) from Atharvaveda, Can only be performed by trained dancers + have very particular meanings for each step, known as’Mudras" Main Components Three main components form the basis of these dances viz. 1. Natya-Dramatic element of the dance (the imitation of character) 2. Nritta-Pure dance, in which the rhythms and phrases of the music are reflected via body gestures. 3. Nritya-the portrayal of mood through facial expression, hand gesture, and position of the legs and feet, Parts There are two basic aspect of Indian classical dance viz 1. Tandava- emphasize on male characteristics of power strength and firmness. 2. Lasya- denotes grace, bhava, rasa and abhinaya, which represents the feminine aspect of dance. BHARATNATYAM (TAMIL NADU) Bharatnatyam can be broken down into- Bha (bhaav/ expression); Ra(raag/ melody), Ta (taal/thythm). Silappatikaram (its existence was mentioned in this ancient Tamil epic) + Brihaddeshwara temple was Bharatnatyam since 1000CE + The Gopurams of Chidambaram display the poses of Bharatnatyam, chaaris, and Karanas that are carved in the stones, a major center for ‘One dancer takes on many roles ina single performance > Also known as Poetry in mation, Style was kept alive by the devadasis (young girls ‘gifted’ by their parents to the temples and married to the gods). Devadasis performed music and dance as offerings to the deities, in the temple courtyards. Abhinaya Darpan and Sangeet Ratnakar guide the technique and grammar of body movernents. leans heavily on the abhinaya or mime aspectofdance-> Dancer expresses the sahitya through movement. Ekeharya lasyam’—> One dancer takes on many roles in a single performance “Tanjor quartet’ Four Thanjavur teachers Ponniah, Vadivelu and Shivanandam. known as Tanjore natyam. > Chiniah, > Dance also Aso referred as the fire dance! + One ofthe principal mucras is Kataka Mukha Hasta’ in which the three fingers are joined to symbolise‘Om: es The repertoire/ sequence of Bharatanatyam + Alarippu Invocation Jatiswaram — Nritta part Shabdam ~ Short compositions with word. ‘Varnam - A story—sincludes both Nritta and Nritya Padam - Religious prayer, Bhajan, Keertanam, Thillana ~ Origin in the Tarana of Hindustani Music Ends with Mangalam, invoking the blessings of the Gods. Instruments: The accompanying orchestra consists of a vocalist, a mridangam player, a violinist or veena player, a flautist and a cymbal player. ‘The person who conducts the dance recitation is known as the Nattuvanar.by Rahul Sengar Sir BASIC COMPONENTS OF BHARATANATYAM Postures Mudras: Hand Movements Dhristi Bheda: Seye Movements \ > h Greeva Bhedas: Neck Movements ABHINAYA- FACIAL EXPRESSIONS Navarasa- The Nine Emotions REVIVAL Rukmini her this art was almost dead, She raised this art form to a Puritan form. Rukmini Devi founded the Kalakshetra in Adyar and thus gave a new hope to the promotion of this Dance form. jevi Arundale created a Renaissance, Before Also, T.Balasaraswati 's efforts helped to uplift this art form to the form known today. + Famous dancers :Yamini Krishnamurthy, Meenakshi Sundaram Pillai, Saroja Vaidyanathan, Janaki Rangarajan, ate. KATHAK (UTTAR PRADESH) Kathakars or story-tellers, are the people who narrate stories. largely based on episodes from the epics, myths and legends. + Early Phase: oral tradition. Later Phase: Mime and gestures added-»make the recitation more effective. Vaishnavism (15% century) became the prominent range of lyrics and musical forms - Krishna and his leelaDance in Raslila was mainly an extension of the basic mime and gestures of the Kathakars. In both Hindu and Muslim courts, Kathak became highly popular source of entertainment, Elements of Kathak + Equal distribution of Body weight along the horizontal and vertical axis, Full foot contact is of prime importance with no sharp bends of the upper or lower part of the body ‘Only classical dance of India having links with Muslim ‘culturesunique synthesis of Hindu and Muslim genius in art + Only form of classical dance wedded to Hindustani or the North Indian mu: + #Jugalbandi is the main attraction of kathak recital which shows a competitive play between the dancer and the table player #Kramalaya is the concluding piece comprising of intricate and fast footwork. + #Gat bhaav is dance without any music or chanting. This is used to outline different mythological episodes. World famous spectacular footwork, amazing spins, Nazakat and Padhant (Chanting of bols, toda, tukdas by dancer himself and then performing). A distinctive feature of Kathak-rereatesa nexus between the dancer and audience. ‘The heavy ghunghroos are worn by the Dancers + AWide variety of sounds are hidden in these ghunghroos like running train, heavy rains, Sound of Horse riding. ‘Ghode ki chaal) and much more. This adds more beauty to the performance, GHARANAS 1. Jaipur 2. Lucknow 3. Raigath and the 4, Banaras gharanas. + These schools are named according to the geographical area in which they developed, by Rahul Sengar Sir Each hasa slight difference ininterpretation and repertoire and can be recognized from their presentations. Music Used + Hindustani Music: Lyrics may be in Hindi, Bri, Sanskrit or any other regional language. + Instruments like Pakhawaj, Tabla, Harmonium, Flute, Sarod, ete. are used, Sarangi, Sitar, Sequence Starts with Vandana (Worshipping God) Uthaan That Aamad (sequence of That/ Aamad/ Uthaan may be ditferentin different gharanas) Salami Toda Tukdas Thai Paran Gatnikas Gatbhaav (Story) Ladi-Tatkaar(Footwork) End with @ Bhajan, Thumri, Tarana or Ashtapadi, Kaji, Chati, haturang ete Revival and Promotion The period of Nawab Wajidali Shah > golden age for Kathak ‘The King of Raigarh Raja Chakradhar Singh who himself ‘was a Kathak dancer gave birth to Raigarh Gharana of Kathak—greatest contribution to Kathak + Be: Achhan Maharaj, Shambhu Maharaj, Gopi Krishna, Pandit Birju Maharaj, Pandit Rajendra Ganagani i, Sitara Devi, Rohini Bhate, Maya Rao, Mandvi Singh, Shama Bhate, Shovana Narayana and many more. Kathak Kendra Delhi, a constituent Body of Sangeet Natak Akademi are dedicated for promotion of Kathak. KUCHIPUDI (ANDHRA PRADESH)by Rahul Sengar Sir Originated in Kuchipudi village, Krishna district of modern Andhra Pradesh around 3” century BCE. Along-established dance-drama styl. Tirtha Narayana Yati and his disciple Siddhendra Yogi ‘organized and founded the modern version of Kuchipudi in 17® century. + It-begins with an invocation to Lord Ganesha followed by Nritta (non-narrative pure dancing), Nritya (narrative dancing) and Natya + Musi > singer is accompanied by musical instruments like mridangam, violin flute and tambura : Carnatic Marked by fast rhythmic footwork & sculpuresque body movements + Themes related to Vaishnavism, Lord Krishna, Rukmini, Satyabhama and other myths. Kuchipudi also holds certain specialties of Bharatnatyam and Odissi as wel + #The performance has: + Sollakath or Patakshara: the Nritta part, where movement of the body is made. + Kavutvams: The Nritya part which involves extensive acrobatics. It may also be performed as Nritta (pure dance) Kuchipudi vs Bharatanatyam Dress 3fansof only 1 frill/fan dissimilar lengthier than the lengths. __lengthiest fan in the Bharatnatyam no side Pallu separate pallu is stitched seen on the left side. only one in Two buns are used in Bharatnatya Kuchipudi m. + Famous dancers in Kuchipudi: Raja-Radha Reddy, Yamini Reddy, Vaijayanti Kashi, Uma Rama Rao etc. + The repertoire of Kuchipudi to that of Bharatanatyam: similar Kuchipudi has a specialty called, ‘Tarangam’ in which the dancer performs on the top of the brass plates. ‘And sometimes balances some pot on the head. This makes the dance form extremely unique. + #Manduk shabdam: Tells the story of a frog + filala Chitra Nrityam: Draws pictures on the floor with his or her toes. #Daaru —> Each principal character Introduces itself, > small composition of dance and song, specifically choreographed for the revelation of each character. The costume and makeup of Kuchipudi Traditionally performed by all males and their attire was quite simple Angivastra’ also known as Bagalbandi and adhoti + The music and instruments: Carmaticmusic the language is usually Telugu. Mridangam, cymbals, vena, flute and Tambura. KATHAKALI (KERALA) ‘Katha’ Story or tale, ‘Kali’ roots are in ancient ‘Kutiyattam’ (Classical Sanskrit Dance Drama) and’krishnattam’(Dance-Drama depicting Stories of Hindu God Krishna), Movements are influenced by ancient martial arts and athletic tradition, erformance and Art. Its Conducted at night and ends in early morning —> Originated from Ramanattam (Ram story via 8 plays) + ffLanguage: Manipravalam and Sanskrit, > a mixture of Malayalam ‘The weight of the body is on the outer edges of the feet, which are slightly bent and curved. Traditionally a male-dominated dance and now females are too welcomed in this dance form, + Main themes: Mythological themes include Ramayan, Mahabharat, Bhagvat Purana, etc Kathakall is also famous for its huge elaborate costumes, amazing make-up style, face masks, and ornaments.+ The movement of the eyebrows, the eye-balls and the lower eye-lids as described in the Natya Shastra are not Used to such an extent in any other dance style. + The characters in a Kathakali performance are broadly divided into Satvika, Rajasika and Tamasika types. Satvika characters are noble, heroic, generous and more refined, Make-up + Armixture of rice paste and lime is applied to make the cchutti on the face, which highlights the facial make-up. The lips, the eyelashes and the eyebrows are desighed to look prominent. + According to the role-sface is colored/painted. Green + Noble characters. + Tati (Red)-sevil like Ravana. Kari (black) > Hunters and monsters. + Yellow women Famous Artists Kalamandalam Krishna Prasad, Kalamandalam Kesavan, Namboodiri, Kalamandalam Gopi etc. Lz ODISSI (ODISHA) Archaeological evidence->2™ century BC» Found in the caves of Udayagiri and Khanda: + Probably itis oldest classical dance of India denotes the ‘worship of Lord Jagannath, + It has its mention in the oldest Sanskrit Text ~ Natya Shastra as Audramagdhi near Bhubaneshwar. The Sun Temple at Konarak, builtin the 13 century, with, its Natya mandap or Hall of dance, marks the culmination of the temple building activity in Orissa, by Rahul Sengar Sir These dance movements, frozen in stone, continue to inspire Odissi dancers even today. Odissi is famous for its presentations on poet Jayadev's fabulous work. Elements Facial expressions, hand gestures and body movements are used to suggest certain feelings or emotions. + With the lowerhalf of the body remaining static, the torso moves from one side to the other. ‘Two styles of traditional Odiss + Maharis (Devadasis or Temple Girls) Gotipua (Performed by Boys) + The maharis, who were originally temple dancers came to be employed in royal courts which resulted in the degeneration of the artform. It has a combination of Lasya and Tandav. Graceful and mesmerizing, it appears like waves of the ocean Sequence Managalacharan (Worshipping Lord Jagannath or other gods, goddesses. Pushpanjali (Offering of flowers) and salutation to mother earth. This also includes Trikhandi Pranam- Devas, Gurus, and Rasikas + Batu Nrutya: Fast dance pure dance which we call it as Nritta which is then followed by Nritya which include, Abhinay- Expressions on some devotional poems or songs. The verses may be in Sanskrit or Odia language. Ashtapadis—Dashavtar, Ardhanari etc Are quite famous. + Then comes the Dance Drama in sequence. #2 types of Concluding item + Moksha includes joyous movements signifying liberation. ‘Trikhanda majura is another way of concluding, in which the performer takes leave from the gods, the audience and the stage + Themes: Hindu gods and goddesses. Modern day expressive theme presentations go beyond the horizon,by Rahul Sengar Sir Prominent Feature-sindependent movement of head, chest and pelvis. Two basic postures. Chowk represents a very masculine stance with the weight of the body equally balanced + Tribhanga represents a very feminine stance where the body is deflected at the neck, torso and the knees. Odissi dancer still reaffirms the faith of the maharis where they sought liberation or moksha through the medium of dance The accompanying orchestra includes Pakhawaj , flute, Sitar /Violin and Manjira Revival and Promotion: Kelucharan Mahapatra, Gangadhar Pradhan, Pankaj Charan Das etcrevived this dance form in the late forties and early fifties. Upliftment and popularization by Sanjukta Panigrahi, Sonal Mansingh, Kumkum Mohanty, Anita Babu, Sujata ‘Mohapatra etc. contributed to the of Odissi Recently, the Odissi has now been included in the syllabus of IIT Bhubaneshwar’ B.Tech syllabus since 2015. It became the first national technical institute to introduce any Indian Classical Dance form in their syllabus. SATTRIYA (ASSAM) Introduced by the great Vaishnava saint, Mahapurusha Sankaradeva in Assam around 15% century. Nurtured and preserved till today with great commitment by the Sattras in Vaishnava monasteries. + Sattras are the dance community halls (namghar) of monastery temples. Elements Themes and styles Performed are mostly on Radha-Krishna and other myths Dramas written by Sankardev are typically presented. Sattriya performance integrated two styles Masculine (Paurashik Bhangi — energetic and with jumps. + Feminine (Stri Bhangi—Lasya or delicate) Costumes + Male—Dhoti, chadar, paguri (turban) Female—Ghur, chadar, Kanchi (waist cloth) made up of materials manufactured in Assam. The play and Character specific costumes are also seen in sattriya Masks are used for special characters (like demons) sometimes. Traditional Assamese jewelry is employed. + Music: Borgeet of Sankardev and Madhavdev. + Instruments: Khol (two faced asymmetrical drum), Cymbals- Manjira Bhortal, Flute, Violin, Harmonium etc Revival and Promotion Conventionally, it was only performed by ‘Bhokots'/Monks'as.a part oftheir daily rituals not before the idol but before the copy of Bhagat Purana placed in the eastern comer of dance community hall (namghar) + After the second half of the 20" century, this dance form moved from the den of Assam's Monasteries to the moder day stage. Sattriya received patronage outside Assam and Outside India too,Sattriya Kendra Guwahati is a constituent body of Sangeet Natak Akademi established for preserving, promoting and providing training to young aspirants of Sattriya + Famous Artists: Guru Indira PP Bora, Late Pradip Chaliha, Jatin Goswami, Anita Sarma etc MANIPURI (MANIPUR) Also known as Joga’ Manipuri showcases the love between Radha- through Raaslila. A combination of two culture- Indian and South-East Asian. Manipur dance has a large repertoire; however, the most popular forms are the Ras, Sankirtana and Thang-Ta ‘Therearé five principal Ras dances of which fourare linked, with specific seasons, while the fifth can be presented at, any time ofthe year The Kirtan form of congregational singing accompanies, the dance which is known as Sankirtana in Manipur. ‘The martial dancers of Manipur ~ the Thang-ta ~ have their origins in the days when man's survival depended on, his ability to defend himself from wild animals Elements by Rahul Sengar Sir Main characters are Radha, Manipurihas significant movements of hands and upper body(not on facial movement) ishna and the Gopis. ‘The expressions used in Manipuri are from the poetry of Jayadev, Vidyapti, Chandidas, Govindadas and Gyandas that may be in Sanskrit, Maithili, Bri or any other language Another uniqueness of this dance form is that, while Ghunghroos (Bells) glorify the classical dances of India, they are not worn in Maniputl + Nagbhanda Mudra: connect body through curves(sign of eight) + Instruments: Pung (A barrel Drum) and small kartals (Cymbals) are employed in dance as well and not restricted to accompaniment alone, Other instruments include Sembong, Harmonium, Pena (String Instrument), Flute(Wind Instrument), Esraj and Shank (conch) Costume Female dancers wear decorative barrel-shaped drum like long stiff skirt til bottom with decorative embellishments. Dark colored velvet blouse covers the upper part of the body and a traditional veil is worn over hair that falls gracefully over the face. The male dancers ado themselves with dhoti kurta ‘white turban, a folded shawl over the left shoulder and the drum strap over the right shoulder. The costume for the character of Lord Krishna is Yellow dhoti, dark velvet jacket, and crown of peacock feathers. ‘Themes: Hindu Vaishnavism + Shaivism and Shaktism and regional deities.by Rahul Sengar Sir Tandav Manipuri depicts themes of Shiv, Shakti or Krishna as warrior Lasya theme includes Love inspired stories of Radha- Krishna, ‘The Manipuri Raslila: Three styles + Tal Rasak: Itis accompanied by clapping + Danda Rasak: The synchronous beat of two sticks where dancers position creates geometric patterns. + Mandal Rasak: The Gopis make a circle while Krishna attains the center. Different types of Manipur Dance Styles Raas Nata-Sankirtan Pung Cholam Dhola Cholam Kartal Cholam Thang ta (a Martial art of Maniputi) etc. Revival and Promotion There are several private institutes as well as few Government aided centers, that provide training in Manipuri Dance. The prominent among them is Jawaharlal Nehru Manipur Dance Academy, Imphal. which is the constituent body of Sangeet Natak Akademi, Dethi. + Manipuridancets: Guru Bipin Sinha Nirmala Mehta Savita Mehta,Yumlembam Gambhini DeviJhaveri Sisters (uses Ghunghruland many others MOHINIATTAM (KERALA) {A feminine classical dance form: literally meaning the Dance ofthe Enchantress. The word Mohini” -scharming women avatar of Lord Vishnu = to end the evil powers. Mohinlattam also connotes, beautiful dancing women. Itis deeply rooted in femininity, Grace (Lasya) and Beauty (Sringara) forming the quintessence of this dance form Distinguishing feature > Characteristic body movements, marked by the graceful sway ofthe torso The movements are never abrupt, but dignified, easy, natural restrained and yet subtle ‘The text’Hastha Lakshanadeepika’ js followed (for hand, gestures and facial expressions) that has an elaborate description of mudras. + The swaying coconut trees in the gentle breeze is reminiscent of the soft and languorous movements of Mohiniyattam, Accompanying music» Sopana style, which in its lyricism, is evocative of the spiritual element. Costume Mohiniyattam has a unique White/Off-White Costume with the gold ornaments The prominent one-sided hairstyle (bun) also called as "Kuduma‘ ‘The sequence of Mohiniyattam Invocation —> Jatiswaram —> Varnam —> Shlokam —> Shabdam—> Padam —> Tiana. Revival and Promotion + In 1930, Nationalist Malayalam poet Vallathel Narayan Menon helped to repeal the ban on temple dancing in Kerala as well as established the Kerala Kalmandalam dance school and gave encouragement forits training and practice, Mukundraj, Krishna Panicker, Thankamony as well as Guru and Dancer Kalamandalam Kalyanikutty Amma gave their heroic contribution in reviving the traditional artform. FOLK DANCES Performed for every possible occasion - to celebrate the arrival of seasons, birth ofa child, a wedding and festivals, which are a plenty.Extremely simple with minimum of steps or movement, full of energy and vitality. Some dances are performed, separately by menandwomenwhilein some performances, men and women dance together. + On most occasions, the dancers sing themselves, accompanied by artists with Instruments, Most of the costumes, worn for folk dances, are colorful with extensive jewels and designs. NORTH INDIA + Dumhal U&K):Dancersperforming this dance are dressed Up wearing vibrant colored robes and conical caps which are generally studded with beads and lookrealy beautiful Not every man can perform this dance but only males of \Wattal can perform this dance and that too during special occasion. + Kud Dance (JK): It is performed to honor the gods’Lok Devtas’ as a thanks giving ritual and Is mostly done in nights. + Rouf Dance, J&K: This dance form is practiced on festive ‘occasions like Eid and Ramzan days are going. It is performed by group of women standing face to face to each other but the most notable feature of this dance form is the footwork of the dancers. by Rahul Sengar Sir + Hikat, H.P: Performed in groups, the dancers hold each other's hand and go around dancing in circles. + Chholiya, Kumaonregion, Uttarakhand:{tis traditionally performed in wedding processions. Sword wielding men dancers are seen dancing spiritedly and hence’Chholiya’is often referred as’sword dance! + Bhangra, Punjab: The origins of this impressive dance form remains speculative, While it is widely believed that, "Bhangra'is a martial dance form, itis also said that it was started by farmers to celebrate the harvest season. No celebration in the Punjab and surround areas is complete without a Bhangra performance. + Giddha, Punjab: Giddha is the female version of Bhangra! The dance aims at expressing the feminine grace. The ‘women wear colorful clothes while performing, Giddha is, usually accompanied by Bolliyan, a collection of couplets,by Rahul Sengar Sir + Mayur Nritya, Uttar Pradesh: Also known as peacock dance, ‘Mayur Nritya’is performed by dancers who wear specially designed clothes so as to resemble a peacock. It is performed while worshipping Lord Krishna, + Charkula, Braj region of Uttar Pradesh: ‘Charkula’ is basically a multi-tiered circular pyramid and it’s believed that Goddess Radha’s grandmother announced the birth, of her granddaughter while balancing a‘Charkula’ on her head. Hence women dancers carry huge ‘Charkulas'which in turn holds many lighted oil lamps. CENTRAL INDIA + Gaur Dance, tribal people of Chhattisgarh: In this dance, men don colorful head-dresses and hats adorned, with peacock plumes. Women, beautified by tattoos and, ornamented with fillets made out of brass and necklaces made out of beads, also join the gathering, Saila Dance, Bastar district in the state of Chhattisgarh. Saila is a unique dance in which the dancers use sticks for rhythmic purpose. The dancers are seldom seen. forming a circle, each standing on one leg and supporting ‘themselves by holding on to the dancer in front. Then they all hop together round and round. Karma Dance, tribes of Chattisgarh, Jharkhand, Madhya Pradesh, Orissa, Bihar and other regions of India. The dance is associated with the fertility cult and is related to the Karma festival that falls in the month of August. The dancers form a circle by placing their arms on the waist of the adjacent dancer and dance in a rhythmic manner. + Kaksar Dance, Abhujmarias of Bastar: It is performed in hope of reaping 2 rich harvest. To invoke the blessings of the deity, young boys and girls perform Kaksar. An interesting trivia about the Kaksar dance is that it allows its dancers to choose thelr life partners from the same dance troupe. + Jawara Dance, Madhya Pradesh: The dance not only involves rapid feet movement but also difficult acts of balancing. The women perform a balancing act by carrying a basket full of the harvested crop on their head. + Tertali Dance, Kamar tribe of Chhattisgarh: The dance Is performed only by women who start by squatting. A musical instrument called ‘Manjira’ is tied all over theirbody - most commonly to their legs and the same is played by the performers throughout the ritual. + Grida Dance, Madhya Pradesh: Performed during winter when the rabi crop is ready to be harvested. The dance marks the success of farmers which is celebrated among the villagers in a grand manner. Bhagoria Dance, tribal people of Madhya Pradesh: Though the dance is part of a unique festival, which allows. young men and women to elope, ithasits own agricultural significance ~ completion of the harvest season. + Suwa Dance, tribes of Chhattisgarh: Also known as ‘parrot dance’ this unique dance gets women to act like parrots! It is usually performed only by women and girls while men get to play musical instruments of their choice by Rahul Sengar Sir EAST INDIA Chhau: This dance form traces its roots to Odisha, Jharkhand and West Bengal but itis popular in other parts, as well. As masks form an important feature of this dance itis called ‘Chau, which literally translates to ‘mask: The performers wield weapons such as swords and shields while dancing, Brita Dance, West Bengal: The dance is usually performed to thank the local deity after recovering from a contagious disease — usually small pox. Dalkhai, Odisha: The dance is performed by young ‘women who are later joined by men, playing drums and other instruments. Interestingly, the men address the ‘women as their girlfriends throughout the play. NORTH EAST INDIA Bihu, Assam: Bihu is celebrated at the beginning of the harvest season and goes on for nearly 30 days. "by Rahul Sengar Sir + Bhortal Dance, Assam: Performers wield cymbals and dance in groups, with each group consisting ofsixorseven dancers. Dancers come up with 2 unique beat known as “Zhiya Nom’ and engage in rapid feet movements + Hojagiri, Tripura: Women and young girls balance bottle and earthen lamps on their head and move their lower body so as to make sure the bottles or lamps don't fall. Men are involved in the act by singing and playing musical instruments. + Cheraw Dance, Mizoram: While the men move horizontally and vertically held bamboo staves, women + Nongkram Dance: Performed by the Jaihtia Hill dance in between them so as to avoid their legs getting inhabitants of Meghalaya, the ‘Nongkram’ dance is a caught in between the staves. The beats are formulated colorful event. The dance form is a way of paying respect when the bamboo staves are moved at rapid pace, to the local deity. (During Chapchar Kut festival: Other dances are Khuallam, Chhethlam, Chai, Solakia (war dance) and Sarlamkai,) + Bardo Chham: It is performed by Sherdukpens, a small community living in the West Kameng District of ‘Arunachal Pradesh. The Sherdukpen tribe believe that every month an evil force appear to mar the good qualities, ‘of humans. Thus to, ward off those evil forces, they wear masks representing different animals and dance together. + Chang Lo, Chang tribe of Nagaland: Since the dance is traditionally performed to celebrate the victory over their enemies on a battle field, dancers don costumes worn by. warriors and display war tactics in the form of dance. + Bagurumba, Bode tribe in Assam: Usually performed by the women, the dance is accompanied by instruments lke drums and flutes. Bagurumba dance has arrich history and, is believed to be inspired by nature.by Rahul Sengar Sir SOUTH INDIA in this part of the country, Young girls wear clothes that + Kummi, Tamil Nadu and Kerala: Since this dance form resemble the skin of snakes and go about moving like snakes! originated when there were no musical instruments, itjust involves women singing and clapping, + Parai Attam, Tamil Nadu: Men folk play a percussion poy 3 + Poikal Kudirai Attam:’PoikalKudiralterally means‘horse with fake legs! The dancers are made to look like they are riding a horse with just two legs! This is one of the most popular folk dances in Tamil Nadu. instrument called ‘Parai’ and dance to the rhythm they ‘come up with. Traditionally, the dance was performed for various reasons and is one of the oldest dance forms of India, + Karagattam, Tamil Nadu: Karagattam is performed while +) Theyyam, Malabar region of kerala: Theyyam is an age- worshipping the goddess of rain, Dancers balance huge old dance, performed to praise Goddess Kali and hence it pots on their head and dance to the tunes of musicians. is also known as Kaliyattam:The dancers paint their faces with vibrant colors which add to the overall effect. Kia —— SOUTH WEST INDIA + Dollu Kunitha, Karnataka: Dollu Kunitha is a popular drum dance. Large drums are hung around the necks of men. The songs used in this dance usually have religious and battle fervor. + Mayil Attam, Tamil Nadu and Kerala: This dance is similar to the Mayur Nritya’ of Uttar Pradesh. Young girls, are dressed to look like peacocks and perform to the beats of the muisicians. The dancers often imitate the moves of peacock + Paampu Attam, Tamil Nadu: This dance is performed while worshipping snakes as snakes are considered divine Bby Rahul Sengar Sir + Ghodemedni, Goa and the adjoining areas: Ghodemodni is also called as ‘warrior dance’ as the performers are dressed as warriors and wield swords. The dance portrays a war since the village in which the dance form originated was once captured by a king WEST INDIA + Dandiya, Gujarat and Rajasthan: Dandiya is a dance form which requires its dancers to wield sticks and wear colorful costumes. Much like the ‘Saila' dance, sticks here are used for rhythmic purpose. + Lava Dance, Islands of Lakshadweep: It’s performed by the men inhabiting the island. The dance is based on folk songs and rhythmic movements. + Fugdi: [tis a Goan dance performed in the Konkan region, Performed by women, this dance form is given life during Hindu festivals + Veeragase, Karnataka: Performed during Dasara celebrations in Mysore, Performed only by men, this dance form is intense and involves energy-sapping movements. = + Garba, Gujarat: Garba is traditionally performed during the nine-day Hindu festival ‘Navaratri: The dance is performed around a lamp. Often the lamp is replaced with a picture or statue of Goddess ‘Shakti + Keli, Maharashtra: Since the dance is performed by fishermen, it involves elements of fishing and sea. Both men and women are involved in this interesting dance form which isa treat to watch. + Tippani Dance: Saurashtra region of Gujrat, this dance is performed only by women. Shehnai and percussions like Manjira, Tabla and Dhol are used to create music. “+ Padhar Dance, Gujarat: Performed by fishermen, who spend their lives along the banks of Nal Sarovar, Padhar dance involves enactment of fishing and rowing of boats, FOLK DANCES IN REPUBLIC DAY PARADE + Karakattam (Tamil Nadu) is one of the many artistic traditions that has its roots in tribute to the rain goddess Mariamman. erotic nature Top a pot filled with either water or rice, are three tiers of green, white and pinkflower arrangements. The figure is finished off with a jarringly green model of a parrot. Taakala Folk Dance(Maharashtra), Gungtey (Arunachal Pradesh) performed by men and, women, celebrates closeness to nature. Satolya Nitya (Assam). + Tamang Selo (Sikkim): This group dance of Tamang ‘community with robust foot tapping and elaborate sound, and display of Damphu instrument is performed on all happy occasions, It highlights vigour and vitality of the ‘community, Tamang songs known as * Hwai’are-full of human emotions. These are so popular that no Nepali merrymaking is considered complete without singing a Tamang song, + Mamita (Tripura): Mamita dance is performed on the ‘occasion of MAMITA festival, which is harvest festival of Tripuri People. Mamita festival is held during the time of Durgapuja or Osa Mutai. The king would celebrate Durga puja, who would sacrifice buffalo, yak etc in the Durga puja, at that time common man would perform Mamita festivals, where they would sacrifice cock, duck and pigeon in the mamita festivals. Fusim Dance (Jammu Kashmir). + Misra Raas / Gop Raas (Gujarat) by both men and women though this form has remained an all-male’ performance, in Saurashtra. As a newly evolved form it is barely two generations old. Since Mishra raas is not a dance tradition of any specific community, there is a lot of flexibility in ‘costumes and music, + Hudka Chhudka (Uttarakhand). Koli dance(Maharashtra) -- traditionally performed by fisherwomen of the state ~ and another dance form by 15 by Rahul Sengar Sir men, which is closely related to the exchange of the takla’ vegetable among local tribal groups. STATE-WISE DISTRIBUTION OF FOLK DANCES + Arunachal Pradesh: Bardo Cham + Assam: Bagurumba, Bhortal, Jhumur, Khel, Gopal, Rakhal Lila, Tabal Chongli, Canoe, Nongkrem, Ankiya Nat, Kirtania Natak, Ojapaliihu + Bihar: Jadur,Kathaputli,Bhako,Jhijiya, Karma, Jatra, Natna, Bidesia, Senkela Chau, Jat-Jatni,Bidpada, Ramkhelia. + Chhattisgarh: Raut Nacha, + Gujarat: Dandiya, Bhavai, Garba, Tippani Dance, Padhar dance, Dangi Nritya, Hudo, Matukdi, Aagwa, Siddi Dhamal + Haryana: Swang, Naqgal, Ras Leela, Dhamal dance, Manjira dance, Dhamal dance, Goga dance + Himachal Pradesh: Nati, Kariyala, Bhagat, Ras Ihanld, Harnatra Haran or Harin. + Jammu and Kashmir: Bhand Pathar or Bhand lashna, Routt, Vetal Dhara + Karnataka: Yakshagana, Bedara Vesha, Dollu Kunitha, Santa, Doddata-Bayalata, Tala Maddle or Prasang. Dasarata, Radhna, veeragase + Kerala:Duffmuttu, Oppana, Padayani, Theyam,Kodiyattam, Margam Kali, Puli Kali, Mudiattam, Thirayattam, Chavittu Nadakam, titambhu nritam, Chakyar koothu, + Madhya Pradesh: Maanch, Nacha, Phul patti Tertal, Grida, + Maharashtra: Tarfe Lalit Bharud, Gondha, Dashavatar, Lavani, Koli dance. Nach, Tamasha, + Meghalaya: Shad sukmysiem, Shad nongkrem, Derogata, Do dru Sua, Laho + Nagaland: Chang Lo (Su Lua). + Odisha: Pala Jtra, Daskathia, Mayurbhanj Chhau, Mangal Ras, Sowang, sambalpuri (dalkhai,rasarkeli, parbha, + Punjab: Naqgal, Swang Bhangra + Rajasthan: Khyal, Rasdhari, Rammat, Tura kilangi, Gauri, Ghoomar, Nautanki, thamtara. + Andhra Pradesh: Veethi Natakam, Koya + Tamil Nadu: Therukuttu, Veethi Natakam, Bhagwat Mela Natakam, Kurvaanji, Pagal Vasham, Kavadi Chindu Burrakatha, Lambadi, + Telangana: Bathukamma + Uttar Pradesh: Bhagat, Sang-Swang, Naqqual, Mayur Nritya, Charukala, + Uttrakhand: Chholiya. + Goa: Fugadi, Dashavatar, Perni jagar, Musal khel, Samai nrutya, Gonph dance, Dekhni, Kunbi dance, Ghode modni, Dhalo, Tonya mel, Talgadi + West Bengal: Chhau (Purulia), Santhali