MODULE 2 : ANCIENT iNDIAN CLASSICAL DANCE

INTRODUCTION

Indian classical dance, or Shastriya Nritya, is an umbrella term for different regionally-specific
Indian classical dance traditions, rooted in predominantly Hindu musical theatre performance,the
theory and practice of which can be traced to the Sanskrit text Natya Shastra. The number of
Indian classical dance styles ranges from six to eight to twelve, or more, depending on the source
and scholar; the main organisation for Indian arts preservation, the Sangeet Natak
Academy recognize
eight: Bharatanatyam, Kathak, Kuchipudi, Odissi, Kathakali, Sattriya, Manipuri and Mohiniyattm
.Additionally, the Indian Ministry of Culture includes Chhau in its list, recognising nine total
styles.Scholars such as Drid Williams add Chhau, Yakshagana and Bhagavata Mela to the
list.Each dance tradition originates and comes from a different state and/or region of India; for
example, Bharatanatyam is from Tamil Nadu in the south of India, Odissi is from the east coast
state of Odisha, and Manipuri is from the northeastern state of Manipur. The music associated
with these different dance performances consists many compositions
in Hindi, Malayalam, Meitei (Manipuri), Sanskrit, Tamil, Odia, Telugu, Assamese, and many
other Indian-Subcontinent languages; they represent a unity of core ideas and a diversity of styles,
costumes, and expression.
Indian classical dancing started around 200 BCE in India, as a joyful and celebratory activity,
often in devotion to Hindu deities. Many of the performances are choreographed to retell stories of
the gods and other historical accounts. All styles of Indian classical dance are vibrant, expressive,
and spiritual. Dance performances usually take place at festivals, universities, various cultural
events, and more. The dancers who perform these styles are usually professionals who have
devoted years of study and practice in their respective style of Indian classical dance. In
performances, the dancers move to the beat of the song or music that is playing; in some styles,
such as Kathak, bells are worn around the ankles at times for added rhythmic effect when the feet
are stomped. The dancer takes the role of the character that they are portraying in the performance,
the composition being specific, and become emotionally connected with the story and the
audience.
The evolution of these dance forms can be categorized broadly into several major styles:
1) Bharatanatyam
2) Kathak
3) Odissi
4) Kathakali
5) Manipuri
6) Kuchipudi.

Each of these styles has its unique origin story, techniques, repertoire and philosophical
underpinnings, contributing to the diverse mosaic of Indian dance heritage.
Some famous Indian classical dancers are :

• Bharatanatyam - Rukmini Devi, Padma Subrahmanyam, Vyjayanthimala, Sheema

Kermani, Padmini, Pt. Smt. Swati Daithankar (who was awarded the 'Nritya Alankar' by Akhil
Bharatiya Gandharva Mahavidyalaya Mandal)

• Kathak - Birju Maharaj, Nahid Siddiqui, Lacchu Maharaj, Gopi Krishna, Saswati Sen, Manjari
Chaturvedi

• Kathakali - Kalamandalam Krishnan Nair

• Kuchipudi - Mallika Sarabhai, V. Satyanarayana Sarma, Deepa Shashindran

• Manipuri - Guru Bipin Singh, Darshana Jhaveri, Jhaveri Sisters, Devjani Chaliha, Amala
Shankar

• Mohiniyattam - Kalamandalam Kalyanikutty Amma, Shobhana, Sunanda Nair, Kalamandalam

Radhika, Thankamani, Kalamandalam Hymavathy

• Odissi - Sujata Mohapatra, Madhavi Mudgal, Kelucharan Mohapatra, Surendra Nath

Jena, Shobana Sahajananan, Minati Mishra

• Sattriya - Jatin Goswami, Indira P. P. Bora, Ghanakanta Bora, Sarodi Saikia, Pushpa Bhuyan

1) BHARATNATYAM

Bharatanatyam is traditionally a team performance art that consists of a solo dancer, accompanied
by musicians and one or more singers. It is described as classical art because the theory of musical
notes, vocal performance, and the dance movement reflect ideas of the Sanskrit treatise Natya
Shastra and other Sanskrit and Tamil texts, such as the Abhinaya Darpana.
The solo artist (ekaharya) in Bharatanatyam is dressed in a colorful sari, adorned with jewelry
and presents a dance and it is synchronized with Indian classical music.The hand and facial
gestures are a coded sign language able to recite legends and spiritual ideas from
the Mahabharata, the Ramayana, the Puranas and historic drama texts.The dancer deploys turns
or specific body movements to mark punctuations in the story or the entry of a different character
in the play or legend being acted out through dance. Abhinaya is the art of expression in Indian
aesthetics; footwork, body language, postures, musical notes, the tones of the vocalist, aesthetics
and costumes integrate to express and communicate the underlying text.
In modern adaptations, Bharatanatyam dance troupes may involve many dancers who play
specific characters in a story, creatively choreographed to ease the interpretation and expand the
experience by the audience. The repertoire of Bharatanatyam, like all major classical Indian dance
forms, follows the three categories of performance in the Natya Shastra. These
are Nritta (Nirutham), Nritya (Niruthiyam) and Natya (Natyam).

1) Origin and History: Bharatanatyam originates from Tamil Nadu and believed to have its roots
in ancient temple dances dedicated to the worship of gods. Over centuries, it underwent a
transformation from temple rituals to a stylized art form performed on stage.

2) Evolution: During the 20th century, Bharatanatyam underwent a revival and restructuring by
pioneers like Rukmini Devi Arundale, who sought to restore its classical purity and elevate its
status as a solo performance art.

3)Techniques and Style: Bharatnatyam is characterized by precise footwork (adavus), expressive

hand gestures (mudras), intricate facial expressions (abhinaya), rhythmic movements (nritya), and
storytelling through dance dramas (natya).

4) Themes and Influence: It explores themes from Hindu mythology, epics (Ramayana,
Mahabharata), and devotion (bhakti), embodying the spiritual and cultural ethos of South India.

5) Importance:Bharatanatyam is more than just a captivating dance form; it holds cultural and
spiritual significance: Spiritual Connection: Rooted in Hindu mythology and spiritual themes,
Bharatanatyam was originally performed in temples as a form of devotion.

6) Conclusion : Bharatanatyam is a dance of Tamil Nadu in southern India. It traces its origins
back to the Natyashastra, an ancient treatise on theatre written by the mythic priest Bharat.
Originally a temple dance for women, bharatnatyam often is used to express Hindu religious
stories and devotions.

2) KATHAK
Kathak (Devanagari: कथक) is one of the nine major forms of Indian classical dance.Its origin is
attributed to the traveling bards in ancient northern India known as Kathakar ("storyteller") who
communicated stories from the Hindu epics through dance, songs and music. Its name derives
from the Sanskrit word katha which means "story", and kathakar which means "the one who tells
a story", or "to do with stories.
Kathak dancers tell various stories utilizing hand movements and expensive footwork, their body
movements and flexibility as well as their facial expressions. Kathak often has a strong beat and
can be danced in many taals. While proto-Kathak elements can be seen long
before, Kathak evolved during the Bhakti movement, particularly by incorporating the childhood
and stories of the Hindu god Krishna, as well as independently in the courts of north Indian
kingdoms. During the period of Mughal rule, the emperors were patrons of Kathak dance and
actively promoted it in their royal courts.Kathak performances include Urdu ghazal and
commonly used instruments brought during the Mughal period. As a result, it is the only Indian
classical dance form to feature Persian elements.
Kathak is found in four distinct forms, called "gharana", named after the cities where
the Kathak dance tradition evolved – Jaipur, Benares and Lucknow. While the
Jaipur gharana focuses more on the foot movements, the Banaras and Lucknow gharana focus
more on facial expressions and graceful hand movements. Stylistically, the Kathak dance form
emphasizes rhythmic foot movements, adorned with small bells (Ghungroo) and the movement
harmonized to the music. Kathak is a performance art that has survived and thrived as an oral
tradition, innovated and taught from one generation to another verbally and through practice. It
transitioned, adapted, and integrated the tastes of the Mughal courts in the 16th and 17th centuries,
particularly by Akbar, but stagnated and went into decline during the British colonial era, then was
reborn as India gained independence and sought to rediscover its ancient roots and a sense of
national identity through the arts.

1) Origin and History: Kathak originated in North India, evolving from the temple traditions and
later influenced by Mughal courts, where it flourished as a storytelling art form.
2)Themes and Influence: This dance explores themes of devotion, social narratives, and
mythological tales, showcasing the cultural heritage and artistic prowess of Andhra Pradesh.

3) Importance:Kathak originated within Hindu temples as a storytelling device for portraying the
epic tales from Hindu scriptures, Mahabharata and Ramayana. Poetry was combined with
rhythmic movement to aid in the worshipful storytelling. However, the stories didn't stay within
the temple walls for long.

4) Contemporary Relevance :Classical Indian dance forms continue to thrive in contemporary

times, adapting to global audiences while retaining their traditional roots. They are taught in
formal institutions (gurukuls, academies), performed at national and international festivals, and
serve as a medium for cultural diplomacy and artistic exchange.

5) Conclusion: In conclusion, the evolution of classical Indian dance forms reflects the dynamic
interplay of history, culture, spirituality, and artistic innovation. These dance forms not only
preserve ancient traditions but also embody the enduring spirit of creativity and expression,
enriching the cultural heritage of India and captivating audiences worldwide with their beauty,
grace, and storytelling powers.

INDIAN MUSIC : INTRODUCTION

Indian classical music is based on the concept of ragas, which are melodies that evoke certain
emotions in the listener. Some of the most popular ragas used in Indian music include Bhairav,
Yaman, Malkauns, Todi, Bhupali, Marwa, and Darbari. Each raga has a distinct melodic structure
and is associated with a particular time of day, season, or mood.
Talas are rhythmic cycles used in Indian classical music. They are composed of a specific number
of beats and can be used to structure improvisations, compositions and performances. Talas are
divided into three parts: thekhādī, the vibhāg and the laggī. Thekhadi is the cyclical pattern of
beats, the vibhag divides the cycle into two halves and the laggi is the part of the cycle which is
improvised. Each tala has its own unique character, which is determined by the number of beats
and the way in which they are grouped together. Talas are an essential part of Indian classical
music, and are used to create a sense of structure, repetition and form in the music.
Like the maqam system in Arab music, in Indian classical music, a raga is a melodic mode or
framework that serves as the foundation for a composition or improvisation. It is characterized by
a specific set of melodic rules and guidelines, including the use of certain notes, the order of the
notes, and the way they are ornamented. Each raga has a specific mood or emotion associated with
it and is meant to be performed during certain times of the day or in specific
seasons.In Hindustani music, talas are classified into four main categories: Trital, Dhamar, Ek tal,
and Jhaptal.In Carnatic music, talas are classified into three main categories: Tisra, Chatusra, and
Misra.

TIMBRE AND INSTRUMENTS IN INDIAN MUSIC

Indian classical music is traditionally performed on a variety of instruments, many of which have
been in use for centuries. Some of the most used instruments in Indian classical music include:
Sitar: A long-necked string instrument with a large number of strings that is played with a
plectrum (mizrab) and is commonly used in Hindustani music.
Sarod: A string instrument with a deep, mellow tone that is played with a plectrum (jawari) and
is commonly used in Hindustani music.
Tabla: A pair of small hand drums that are played with the fingers and palms and are used to
provide the rhythm in Indian classical music.
Harmonium: A small reed organ that is played with the fingers and is used to provide
accompaniment in Indian classical music.
Mridangam: A double-headed drum that is played with the hands and is commonly used
in Carnatic music.
Ghatam: A clay pot that is played with the hands and is commonly used in Carnatic music.
 Kanjira: A tambourine-like instrument that is played with the hands and is commonly used
in Carnatic music.
Violin: A bowed string instrument that is played with a bow and is commonly used in both
Hindustani and Carnatic music.
Flute: A wind instrument that is played by blowing into a hole and is commonly used in both
Hindustani and Carnatic music.
Sarangi: A bowed string instrument that is played with a bow and is commonly used in
Hindustani music.

These are just some of the instruments commonly used in Indian classical music, and there are
many more instruments that are used depending on the specific style and tradition of music.
Hindustani music is one of the two main traditions of Indian classical music, the other
being Carnatic music. It originated in the northern regions of India and is characterized by its use
of improvisation and the influence of devotional and Sufi music. It is also known for its use of a
wide range of musical scales, called ragas, and its use of talas, which are rhythmic
patterns. Hindustani music is traditionally performed on a variety of instruments, including
the sitar, sarod, tabla, and harmonium. It is also often accompanied by singing, with the main
vocal forms being khayal, thumri, and dhrupad.There are several different genres of Indian
music, including classical, folk, and filmi music. Classical Indian music is divided into two main
traditions: Hindustani and Carnatic. Hindustani music is primarily associated with the northern
regions of India, while Carnatic music is primarily associated with the southern regions. Folk
music is also diverse, with different styles and traditions found throughout the
country. Filmi music, also known as Bollywood music, is a popular genre in India and is often
based on a fusion of traditional and Western styles.

CARNATIC MUSIC:
Carnatic music, on the other hand, is primarily associated with the southern regions of India,
particularly in the states of Tamil Nadu, Andhra Pradesh, Karnataka, and Kerala. Carnatic music is
centered around the vocal music, and it is based on a system of ragas (melodic modes) and talas
(rhythmic cycles). It is known for its complex and intricate melodies, as well as its use of rhythmic
patterns and improvisation. Instruments commonly used in Carnatic music include
the violin, mridangam, ghatam and the kanjira. Carnatic music is also accompanied by singing,
with the main vocal forms being keerthanam, varnam, and kriti. Carnatic music is traditionally
performed during religious and spiritual ceremonies and festivals. It is also taught and studied in
specialized schools called sangeetha vidyalayas or sabhas and it has a strong tradition of oral
transmission.The Carnatic music embraces much creativity comprise of Alpana, Niraval,
Kalpnaswaram and Ragam Thana Pallavi.

Characteristics of Carnatic Music –

• The intensity of sound can be controlled in this style.
• Use of helical (Kundali) swaras is evident.
• Free and typical style of raga.
• The singer recites the ‘aalap’ and ‘taanam’.
• The distorted swars are named according to the shrutis. They are started afterwards.
• The purity of swars are based on less shrutis, meaning high purity.
• The thaat of pure swars is called `mukhari’.
• The time durations are well-defined in the Carnatic music. Madhya is twice of ‘Vilamba’ and the
‘Dhruta’ is twice of Madhya.

HINDUSTANI MUSIC:
Hindustani music, one of the two principal types of South Asian classical music, found mainly
in the northern three-fourths of the subcontinent, where Indo-Aryan languages are spoken. The
two systems diverged gradually, beginning in the 13th century, when the Islamic conquest of
northern parts of the subcontinent introduced highly influential Arab and Persian musical practices
that then merged with Hindu traditions. Northern India shares with the south the use of ragas, the
rhythmic principles of tala, and the practice of non metric, rhythmically “free” improvisation.
Although vocal music plays an important role, instrumental music is more important in Hindustani
music than it is in Karnatak; there are some purely instrumental forms, such as the theme with
variations known as gat.The main vocal forms of Hindustani music are Dhrupad, Khayal, Tarana,
Thumri, Dadra, and Gazals.

Characteristics of Hindustani Music

• Emphasis on the moral construction of the song (Nadi and Samvadi swars).
• The singer recites the clap at a fast pace, which is known as ‘Joda’. Taal is not accompanied
afterwards.
• Full swars are considered to be complete, after which the distorted swars are introduced.
• The thaat of pure swars is called ‘Tilawal’.
• There is range and flexibility in the swars.
• Time limits are followed. There are different ragas for morning and evening.
• Taals are normal.
• Ragas are based on gender differentiation.
• There is no ratio in Hindustani music while switching the ragas.

A common belief is that Carnatic music represents a more ancient and refined approach to
classical music, whereas Hindustani music has evolved by external influences.If Hindustani music
is taken in as an entirely new form of music created from Indian classical music and Persian
music, then Carnatic music was a form from the south of the sub-continent that developed further
natively after this divergence. Carnatic music is the ancient Indian classical music that became
distinct after Hindustani music was established.Hindustani and Carnatic music systems developed
from a common ancestor. Carnatic Music originated in the Bhakti movement, while Hindustani
music originated during the Vedic period. Therefore both have a great link with religion. Both the
music developed with Sanskrit language scripts in itself and through Vedic traditions.