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    Building collapse survivors owe much to canines Rustom, Dil. . Students boycott classes, demand m ore tea chers BSNL em

    HOME ARTICLES POST ARTICLES Q & A ASK QUESTIONS FESTIVAL CALENDER MUSICFEST CALENDER

    Dance in Indi a

    Dance in India, is rooted in age-old tradition. This vast sub-c ontinent h as given birth to varied forms of

    dancing, each shaped by the influences of a particular period a nd enviro nment. Th ese pristine forms have

    been preserved through the centuries, to become a part of our present culture, a living heritage which is

    both our pride and delight.

    Nurtured in temples, princely courts or villages, dance has moved into the auditorium of today, bringing

    pleasure to many more people, in far-flung regions. It is now possible to appreciate the lyrical grace of the

    Manipuri dance of North-Eastern India in, say, Gujarat. This dance-form arising out of Krishna-bhakti, is

    sinuous in its movements and romantic in its concept, celebrating a divine theme which is meaningful to

    people all over the country. Similarly, the sophistry of Katha k, wh ich flo wered at the courts of the Mughal

    princes with its accelerated tempo, intricate foot-movements, and subtl e facial expressions, evokes a

    resplendent past common to us all.

    The a bund an t lar ge sse o f danc e in So u th Indi a , fr o m th e Bhar atnatyam o f Tamil Nad u, to the Kathakali dance-

    drama of Kerala, to the Kuchipudi of Andhra, has become part of the melting-pot of c ulture enriching the life

    of any Indian today. Fo r, to witness the strength and vigour of Kathakali as it en acts episodes from the

    Mahabharata and the Ramayana, is an education in itself. The extremely stylised gestures, the elaborate

    make-up, the masks and the splendid costumes of these all-male dancers, recreates an incomparable

    sense of pageantry. Bharatanatyam, the temple-maiden's dance of devotion, has a classic quality which is

    as daunting as it is beautiful. The rigorous precision of foot and hand movements, the eloquent range of

    expression depicted through eyes and mouth, and the total linear consonance of body is exacting and

    exciting in its perfection.

    Bharata's 'Natya Sastra' is the Bible of Indian aestheticians. It says that the Creator (Brahma) created dance

    to give joy in life to the gods who found their cosmic functions to be heavy and dreary. 'Bharatarmada' and

    'Abhinaya Darpana' are other important classical works on the Indian art of dance. Kalidasa's drama

    Malavikagnimitra, Vishnu Dharmothrara and Agni Purana throws much light on the art. Other important

    Sanskrit works are Dhananjaya's Dasa Roopaka, Sargadava's Sangita Ratnakara, Thulajaji's Sangita

    Saramitra, Bala Ramavarma's Bala Bharata, Haripala Deva's Sangita Sudhakara, Veda Suri's Sangita

    Makaranda, Rasamanjari etc. Tamil works on dance are Bharata Senapatheeyam, Bharata Siddhanta,

    Bharata Sangraha and Mahabharata Choodamani. In the famous Tamil epic Silappadikaram , there is a

    reference to eleven varities of dance (alliyam, kudai, kudam etc). It refers to 24 kinds of abhinayam.

    The Heritage Of Devadasi Dance

    The Devadasi dance tradition which developed through the temple Danseuses is an important type among

    the dance patterns of India. Bharatnatyam in Tamil Nadu, Kuchipudi in Andhra Pradesh, Odissi in Orissa and

    Mohiniyattam in Kerala took shape in the tradition of Devadasi dance. These dance forms grew and developed

    a classical status.

    In the Puranas, there are references that a custom of dedicating maidens to the deity in temples was

    prevalent in India from very early times. They later came to be known as 'Devadasis'. They were in charge of

    the music and dance aspects of temple rituals. In India, the dancing and singing of Devadasis was an

    integral part of temple worship. They were attached to temples in various parts of India, like Kerala, Tamil

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    1.10.2014 to 10.10.2014Rajgir Danc e Festival

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    DANCE IN INDIA BASICS OF DANCE CLASSICAL DANCES FOLK DANCES DANCE FEST CALENDER DANCERS DANCE FESTIVALS DANCE CAREER PUBLISH DANCE EVENTS

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    7/4/2014 Webindia123.com - Dances of India

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    Nadu, Andhra Pradesh, Mysore, Maharashtra, Rajasthan, Gujarat, Bengal, Orissa and Kashmir. It was a

    common custom in all places that maidens under went a symbolic marriage with the deity before she

    became a Devadasi. In Kerala, it was called 'Penkettu'.

    The Saiva section of Hinduism fancied the Devadasi custom more than the others. The 'Shiva Purana' lays

    down that when Siva temples are built and endowments made for the conduct of the daily rituals, the gift

    of damsels well versed in dance and song should be made to the temple. History records the fact when in

    the 9th century A.D. Raja Raja Chola built the Brahadesvara temple in Tanjore he gifted four hundred

    Devadasis to the temple.

    Dance was an important factor in the worship of Siva. He was known as 'Nataraja'. The 1st items in

    'Bharatanatyam' called Alarippu and in Mohiniyattam known as colkettu are considered to be dance

    patterns sacred to Lord Shiva. There is a sloha in praise of Siva towards the end of the text used for

    colkettu in Mohiniyattam.

    Devadasis in Kerala are to be found in the Manipravala compositions of the 1st half of the 13th century and

    later literacy works. Famous dances like Unniyacci, Unniyati, Unniccirutevi and others are described therein

    as expert exponents of the Devadasi art, attached to Siva temples and residing in their precincts. Most of

    the stone inscriptions containing references to Devadasis in Kerala, have been discovered from Siva

    temples. Saiva form of religion has an antiquity of about 4000 years.

    Though in the beginning the Devadasi institution was confined to Siva worship, as times passed otherforms of relegion also adopted the Devadasi tradition. By about the 1st century B.C, the Devadasi system

    had found a place in Buddha, Jama and Hindu temples. Various references in ancient literature gives us an

    idea of the Devadasi tradition and their dance performances. In Kautilya's Arthasastra (considered to be

    written in the 3rd century B.C) there are references to Devadasis and their training in dance. In

    'Mricchaghatiham' a Sanskrit drama supposed to have been written by 'Sudraka' in the 2nd century, the

    heroine B.C Vasantasena is introduced as a good danseuse. The original 'Katha-Sarit-Sagara' (the ocean of

    story) written in Paisaci language is deemed to have been composed before the birth of Christ. Though

    original is lost, its Sanskrit translations are available. In the story entitled 'Alajala', a dancing girl 'Sundari'

    who performed in temples is mentioned. The earliest and the greatest Tamil epic poems, 'Cilappatikaram'

    and 'Manimekhalai' are the main sources of information about the life of the danseuses of Tamil Nadu and

    Kerala of that age and their special styles of dancing.

    In the course of time, separate subsects of Devadasis came into being. The duties of Devadasis included

    dancing as well as cleaning the temples, providing flowers and other items needed for the conduct of the

    daily propitiations in the temple, cleaning the rice and the articles of offerings to the deity to help the work

    of the priests. In addition, they were called upon to perform dances in the King's court and serve the palace

    in general. This variety in their work pattern gave rise to various types with separate distinctive names.

    The Devadasis known as 'Basavis' in Karnataka, are of 4 types. Those who danced in temples were

    considered the most prestigious and they belonged to the highest class. The Maledavaru indicated the

    section which took part in dance recitals in marriages and other festivals, while the Maleyavaru prepared

    garlands of flowers etc. for the temple and the Subyavaru were plain prostitutes. In a village in Karnataka

    called 'Basaruru', Devadasis can still be found. The common word to denote Siva devotes is 'Basavas'.

    In Tamil Nadu, those who danced in Siva temples were called Devadasis, those who performed dance

    recitals in the Kings court were called Rajadasis, and those who gave dance performances in festivals

    elsewhere came to be known as Svadasis.

    In Andhra, there were 3 types of Devadasis. The genuine devadasis who performed in temples, those who

    danced in the court of Kings came to be known as 'Rajanarttaki'.

    In Kerala, the Devadasis had a highly respected place in society. This is made clear from the ancient poetic

    compositions of Kerala. Devadasis like 'Chandotravam' and 'Sukhasanderam. Kulasekhara Perumal, the

    ruler of Kerala in the 9th century A.D dedicated his own daughter to the Srirangam temple. So it was not

    uncommon for maidens from royal or even Brahmin families to become Devadasis. Kerala history has many

    examples of beautiful and attractive ladies of Devadasi sect being accepted as consorts by kings. It is said

    that Devadasis, Kandiyiu Teviticci Unni, Cherukarakkuttatti and others had been queens. Uttara Chandrika,

    the heroine of the 'Manipravala Kavyam' of that name belonged to the Chirava royal family.

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    Kathak Dance

    Classical Dance in India

    The Indian Dance School

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