|
|
 Kathak Kathak (Hindi: कथक, Urdu: کتھک) is one of the eight forms of Indian classical dances, originated from northern India, and is the national dance of Pakistan. It is a partially narrative and originally solo dance form characterized by fast footwork, spins and innovative use of expressions to portray narratives. Its form today is the product of various influences in the past: mythological tales portrayed by kathakas or ancient itinerant bards, temple and ritual dance, the bhakti movement, and Persian influence of the Mughal courts from the 16th century onwards; and the impact of these elements continues to readily discernible. There are three major schools or gharanas of Kathak from which performers today generally draw their lineage: the gharanas of Jaipur, Lucknow and Banaras (born in the courts of the Kuchwaha Rajput kings, the Nawab of Oudh, and Varanasi respectively); there is also a less prominent (and later)Raigarh gharana which amalgamated technique from all three preceding gharanas but became famous for its own distinctive compositions. The name Kathak is derived from the Sanskrit word katha meaning story, and katthaka in Sanskrit means s/he who tells a story, or to do with stories. The name of the form is properly katthak, with the geminated dental to show a derived form, but this has since simplified to modern-day kathak. kathaa kahe so kathak is a saying many teachers pass on to their pupils, which is generally translated, 's/he who tells a story, is a kathak', but which can also be translated, 'that which tells a story, that is Kathak'. 
Bharat Natyam Bharatanatyam is a classic dance form originating in Tamil Nadu, a state in South India and is the known as the Indian National Dance. This dance form is a 20th century reconstruction of Cathir, the art of temple dancers. Cathir in turn, is derived from ancient dance forms. Bharatanatyam is usually accompanied by the classical Carnatic Music. Traditional roots Bharatanatyam traces its origins to the Natya Shastra written by Bharata Muni (c. 400 BCE - 200 BCE), a Hindu sage. In ancient times it was performed as dasiattam by temple Devadasis. Many of the ancient sculptures in Hindu temples are based on Bharata Natyam dance postures Karanas. In fact, it is the celestial dancers, apsaras, who are depicted in many scriptures dancing the heavenly version of what is known on earth as Bharatanatyam. In the most essential sense, a Hindu deity is a revered royal guest in his temple/abode, to be offered a standard set of religious services called Sodasa Upacharas ("sixteen hospitalities") among which are music and dance, pleasing to the senses. Thus, many Hindu temples traditionally maintained complements of trained musicians and dancers, as did Indian rulers. Bharatanatyam as a dance form and carnatic music set to it are deeply grounded in Bhakti. Bharatanatyam, it is said, is the embodiment of music in visual form, a ceremony, and an act of devotion. Dance and music are inseparable forms; only with Sangeetam (words or syllables set to raga or melody) can dance be conceptualized.
Odissi Odissi is one of the classical dance forms of India. It is one of the eight Indian classical dance forms, and originates from the state of Orissa, in eastern India. The classic treatise of Indian dance, Natya Shastra, refers to it as Odra-Magadhi. First century BCE bas-reliefs in the hills of Udaygiri (near Bhubaneshwar) testify to its antiquity. It was suppressed under the British raj but has been reconstructed since India gained independence. It is particularly distinguished from other classical Indian dance forms by the importance it places upon the tribhangi (literally: three parts break), the independent movement of head, chest and pelvis, and upon the basic square stance known as chauka. The Odissi tradition existed in three schools; Mahari, Nartaki, and Gotipua. Maharis were Orissan devadasis or temple girls (their name deriving from Maha (great) and ‘Nari’ or ‘Mahri’ (chosen)} particularly those at the temple of Jagganath at Puri. Early Maharis performed mainly nritta (pure dance) and abhinaya (interpretation of poetry) based on mantras & slokas, later Maharis, especially, performed dance sequences based on the lyrics of Jayadevs Gita Govinda. Bhitari gauni Maharis, were allowed in the inner temple while bahari gauni Maharis, though in the temples, were excluded from the sanctum sanctorum. A dancer portrays Radha suffering over the infidelity of Krishna. By the sixth century the Gotipua tradition was emerging. 0ne of the reasons given for the emergence of Gotipuas is that Vaishnavas did not approve of dancing by women. Gotipuas were young boys dressed as girls and taught the dance by the Maharis. During this period, Vaishnava poets composed innumerable lyrics in Oriya dedicated to Radha and Krishna. Gotipuas danced to these compositions. The Gotipuas stepped out of the precincts of the temples. Nartaki dance took place in the royal courts, where it was much cultivated before the British period. At that time the misuse of devadasis came under strong attack, so that Odissi dance withered in the temples and became unfashionable at court. Only the the remnants of the gotipua school remained, and the reconstruction of the style required an archaeological and anthropological effort that has tended to foster a conservative purism.
Bollywood Hindi Film Dance  
|
|