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Indian classical dance originated as a form of worship in Hindu temples, with precise movements and positions based on concepts in Hindu scriptures relating to energy channels in the spine. Different regional styles developed linked to local cultures and deities. Dances are performed to tell religious stories through gesture and expression alone. Classical dance continues to influence rituals and daily life in Indian communities as well as modern fusion styles seen in Bollywood films.
Indian classical dance originated as a form of worship in Hindu temples, with precise movements and positions based on concepts in Hindu scriptures relating to energy channels in the spine. Different regional styles developed linked to local cultures and deities. Dances are performed to tell religious stories through gesture and expression alone. Classical dance continues to influence rituals and daily life in Indian communities as well as modern fusion styles seen in Bollywood films.
Indian classical dance originated as a form of worship in Hindu temples, with precise movements and positions based on concepts in Hindu scriptures relating to energy channels in the spine. Different regional styles developed linked to local cultures and deities. Dances are performed to tell religious stories through gesture and expression alone. Classical dance continues to influence rituals and daily life in Indian communities as well as modern fusion styles seen in Bollywood films.
Sagar Rambhia Case Western Reserve University DANC 121
2 INTRODUCTION Indian classical dance is one of the oldest dance forms in the world. Most of the dances were developed for the purposes of worship and can be seen across the walls of ancient indian temples. For Indians, classical dance evolved as a relationship between God and the servants of God (or dancers). Indian dance differs from western dance. Western dance allows for more experimentation to link matter and spirit through the body (Dance, 2014). Rather, classical indian dance is a tested path to self-knowledge and thus focuses on traditional form. Traditional form and preservation remain its hallmark to link matter and spirit.
HINDUISM AND DANCE As explained in Hindu mythology, dance evolved from the mind of Bharta Muni who drafted the Natya Shastra, which provided a codified practice for dance and drama (Devi, 1990). Bharata Muni created his Natyaveda (body of knowledge about dance) by combining the words of the Rigveda, gestures of the Yajurveda, music from the Samaveda, and emotions from Atharavaveda (Devi, 1990). Classical indian dance and Hinduism have an intimate relationship, with one often overlapping into the other. Often youll find statues of Hindu deities holding dancing positions. Similarly, classical dance is used to tell the stories of the Hindu deities (Devi, 1990). In Hindi teachings, the experience of enlightenment was depicted through descriptive images. Part of this is imparted to describe the energy of the dance (Tandon, 2008). The Human Energy is coiled like a serpent and poised at the base of the spine. The spine is the highway for this energy, Goddess Kundalini, which like the snake, uncoils and can travel along the spine, going up until enlightenment happens (Tandon, 2008). By achieving a balance between the mental desire for movement and rest, the experience is as much defined by energy, as it is peacefulness of having an equilibrium state within these energy channels that exist along the 3 spine. This energy ascends the spine until it reaches the third eye, unlocking the chakra, allowing the unconscious to become conscious (Tandon, 2008). These principles became the foundation of the Odissi dance tradition and eventually, yoga and Indian classical dance. The Odissi dance traditions define the rationale behind the dance movements (Tandon, 2008).
CLASSICAL DANCE AND MOVEMENTS The movements of classical dance preserve the image of the ascending of the energies along the spine. The link between the dancers vertical alludes to Hinduism, called the Brahma sutra, with emphasize on the movements of the lower body to target the lower spine. This lower body position is traditionally held in several of the types of classical dance, in particular Bharatanatyam (Tandon, 2008). This half sitting allows the dancer to achieve a series of triangles, and allows the distance between the head and the navel to be equal to that of the earth and the navel (McFee, 1994). The lower body powers the torso, neck and head. The spine will be held vertically and upright with the body moving symmetrically to emphasize harmony (Nandan). The symmetrical dance style allows the body to be balanced and the chest to be even. With even chest comes even breathing from the left and right nostrils. This technique is requisite for the flow of energy and for the dancer to achieve heightened states of consciousness. This translates from classical dance to yoga, where controlling ones breath, or pranayama is emphasized. Emphasizing fluidity expands this harmony (Tandon, 2008). A fluid body is necessary to classical dance, like many other dance forms. More so than a strong body, flexibility of joints are critical (Tandon, 2008). These features together embody the approaches by various classical Indian dances.
4 DANCING AND WORSHIP Discussing the positioning of the body naturally leads to the purpose of the movements. Dance, intended as an offering to Deities, rely on the movements, gestures, music, and literature to give the dancer the tools to interact with the larger power of the deity (Nandan). This is referred to as an expansion of the consciousness that allows for the identity with the deity to become within and replace the self-identification or often called the ego-identification. The dancer must allow the body to draw patterns and projecting movement from the energy originating in the spine. The triangle that was mentioned before is critical as it is an energy field signifying fire, a square represents stability or early, a cresent for water, and a circle for air. The smallest element is the dot, or bindi (Tandon, 2008). Together, all five of these shapes create the scaffold for classical Indian dance. Movements and stillness are effectively used throughout the dance process while maintaining the geometry and symmetry of the body (Tandon, 2008). Every movement is deliberate, by the torso, arms, hands, neck, head, and eyes. These movements culminate together to allow the dancer to achieve a meditation state, one that connects them with God. This ideology exists in all of the classical Indian Dances ("Indian Classical Dances").
CULTURE, DANCE, AND DRAMA Indian culture and dance is deeply intertwined. Making reference to Christianity, western dance often exists within the dominant culture, but without reference to the blueprint of the culture. This allows more freedom to challenge the style and form of dance (McFee, 1994). Western dance is allowed to be redefined; the matter and the spirit. This has resulted in the gradual detachment of dance from religion. This does not exist in Indian classical dance. Dance evolved in India as a primary function of worship ("Culture of India," n.d.). There were no dance halls, auditoriums, or theatres, only temples (Chander, 2003). Dance was performed in temples for 5 religious celebration, festive occasions, and harvests. This dance form exists well within its culture and religion and has maintained its traditions to this day in performance halls and temples all across the world. Dance has since evolved and coexists with the theatre culture (Chander, 2003). Classical indian dance has developed into a dance-drama fusion and is one of Indias primary sources of theatre ("Indian Classical Dances"). Telling stories, re-enacting religious history, and pouring emotion through gestures and expression, classical dancers are as much actors as those that find home in Bollywood. The body is the vessel to which the story is told. The dancer acts the story with no words, simply with expression, movement, and gestures. The dance is considered classical if it adheres to the Natyashastras guidelines (Narayan, 2005). The universal metric of most performances, and of Natyashastra as to the quality and accomplishment of a performance, is if it is able to produce rasa and bhava, emotion and facial expression ("Indian Classical Dances"). These qualities and feelings exist within all indian classical dance forms. These different forms of indian classical dance and performance represent the culture of the region from which they originated: Bharatnatyam from Tamil Nadu, Kathak from North India, Kathakli from Kerala, Kuchipudi from Andra Pradesh, Manipuri from Manipur, Mohiniyattam from Kerala, Odissi from Odisha, and Sattriya from Assam (Narayan, 2005).
DAILY LIFE AND DANCE Classical performances and dance continue to influence daily life and the rituals of rural village communities ("Culture of India," n.d.). These dances that are performed amongst the community in groups often have religious or festive significance and symbolize joyous times. These dances are described by the worlds oldest language, Sanskrit, and, similarly to classical dances, are 6 defined regionally ("Culture of India," n.d.). Classical dance has also influences life in bigger cities with the popularity of dances in Bollywood.
MODERN DANCE Bollywood is the modern counterpart of indian classical dance. Since the first introduction of song and film in 1931, Bollywood has relied on equal parts, song, acting, and dance in order to produce successful films (Gopal, 2008). The dance initially was rooted on the classical dance styles and folk dance styles previously described ("Dance in India," n.d.). More modern films choreograph dance based on western styles with classical dance elements to create Indian fusion dances. Similarly, modern films also integrate western style dances and classical dances independently in different dances ("Dance in India," n. d.). In one film scene, you could see a western dance similar to what you would expect on So You Think You Can Dance, and in another scene see a classical Kuchipudi dance between the leads, the hero and heroine. These dance sequences portrayed in Bollywood are often mimicked in weddings, festivals, commercials, and TV shows. Bollywood has taken indian classical dance, along with many others, and evolved into its own form of dance ("Dance in India," n.d.). Classical Dance has influenced Indian culture, it has influenced religion, and it has influenced current pop culture with Bollywood. The intricacies of positions, and movements when mastered allow the dancer to achieve a trance like state that continues to influence the classical Indian dances of the various regions, yoga, and meditation. Dance is critical in India. Dance is used for celebration, for worship, and finding peace. It will continue to influence the great country of India with the deep respect for preservation of the traditions.
7 REFERENCES
Chander, P. (2003). India, past and present. New Delhi: A.P.H. Pub.
Culture of India. (n.d.). In Wikipedia. Retrieved October 14, 2014, from http://en.wikipedia.org/wiki/Culture_of_India
Dance. (2014). In Encyclopaedia Britannica. Retrieved from http://www.britannica.com/EBchecked/topic/150714/dance
Dance in India. (n.d.). In Wikipedia. Retrieved October 14, 2014, from http://en.wikipedia.org/wiki/Dance_in_India
Devi, R. (1990). Dance Dialects of India (2nd rev. ed.). Delhi: Motilal Banarsidass.
Gopal, S. (2008). Global Bollywood: Travels of Hindi song and dance. Minneapolis: University of Minnesota Press.
Indian Classical Dances. (n.d.). Retrieved October 13, 2014, from http://www.culturalindia.net/indian-dance/classical/index.html
McFee, G. (1994). The concept of dance education (pp. 127-128). London: Routledge.
Nandan, A. (2007, October 3). Ardhamandala in Bharatanatyam. Retrieved October 13, 2014.
Narayan, S. (2005). The Sterling book of Indian classical dances. Slough: New Dawn Press.
Tandon, R. (2008). The Symbiotic Relationship between Indian Dance and the Yogic Chakras. New Delhi: Indira Gandhi National Centre for the Arts.