Art & Culture

UPSC CSE
(Prelims + Mains)
Module 2
Indian Dance Forms
-Arti Chhawari

Arti Chhawari Module 2- Indian Dance Forms Page 1

 Bharatanatyam ( Bhaav+ Rasa+Tala+ Natyam)

It is the oldest among all classical dance forms. It derives its name from
Bharata Muni’s Natya Shastra. Its origin can be traced back to “Sadir
Natyam”- a solo dance form performed for centuries by devadasis in
temples and eventually in the royal courts of South India, especially in
Tamil Nadu. It is also know by names like Dasiattam, Chinnamelam or
Sadir

EVOLUTION

In the beginning of the first century AD, the dance form was almost wiped out with the
decline of Devadasi system. Later on it was revived by E. Krishna Iyer. Earlier, it was only
performed by solo dancers, but later on it became popular among male dancers and group
artists. Rukmani Devi Arundale’s efforts have led to the global recognition of the dance.

ELEMENTS

Alarippu- It is the first piece of performance in this art form, which includes a
combination of pure dance along with the recitation of sound syllables

Jatiswaram- It is a short pure dance performed along

with different poses and movements.

Shabdam- It includes Abhinaya in the song, which is

performed in reverence to the supreme being.

Varnam- It encompases both dance and emotions in

synchronisation with taal and raag.

Padam- It represents the expression of

Abhinaya by the artists.

Jawali- Short love-lyrics are performed

at a quick tempo.

Thillana- The dance performance ends with a thillana. At this stage, pure dance is
performed with energetic movements and elaborate rhythmic variations.

Arti Chhawari Module 2- Indian Dance Forms Page 2

IMPORTANT FEATURES

Ekcharya Lasyam style, where one dancer performs many roles in a single
act is a feature of Baharatnatyam

Under the famous “Tanjore quartet”, it also came to be known as Tanjore

Natyam.

Tandava and Lasyam are given equal importance, with major prominence
to mudras.

“Katha Mukha Hasta” is one of the main mudras in which “Om” is

symbolised by joining three fingers.

During recital, the dancers bend their knees in way that their weight gets
equally distributed across both their feet.

Since it represents the fire in the human body, it is also referred to as the “
Fire Dance”.

FAMOUS PROPONENTS

Yamini Krishnamurthy
Rukmani Devi Arundale

Mallika Sarabhai
Malini Sarabhai

Arti Chhawari Module 2- Indian Dance Forms Page 3

 Kathakali ( Katha + Kaali )

Kathakali is a blend of dance, music and acting and dramatizes stories

mostly adapted from the Indian epics. Its origin can be traced back to
two forms of dance drama which emerged in the temples of Kerala,
namely, Ramanattam and Krishnattam.

The word “Kathakkali” is derived from the word “Katha” meaning story
and “Kali” meaning drama.

EVOLUTION

It evolved under the patronage of feudal lords in Kerala like Zamorins of Calicut region.
Kathakali as an art decline with the breakdown of the feudal set up.

In the 1930s, it was revived by the famous Malayali poet V.N. Menon under the patronage of
Mukunda Raja.

IMPORTANT FEATURES

The themes were draw from the stories

narrated I the epics ad the puranas

The dance form represents the eternal

Green= nobility,
conflict between good and evil.
divinity ad virtue

It emphasises on the representation of the

rasa through eye and eyebrow movements.

The element of sky or ether is represented

by Kathakali. It welcomes the Dawn. Red= royalty or
king
Different colours are used in facial makeup,
which have their own significance.

Different colours are used in facial makeup,

which have their own significance.
Black = evil and
wickedness

Arti Chhawari Module 2- Indian Dance Forms Page 4

 It is performed in open air premises, coarse
mats used as covers and for lightening.
Brass lamps “Kalivilaku” are used.

A continuous sound of drums, chhenda and Yellow = Woman

Maddala, performed during dawn, character
culminates the whole performance.

FAMOUS PROPONENTS

Gopinath Guru Kunchu Kurup

Rita Ganguly ( Awarded Padma
Bhusan in 1971 )

Arti Chhawari Module 2- Indian Dance Forms Page 5

 Mohiniyattam ( Mohini + attam)
Mohiniyattam, also known as dance of the enchantress is Kerala’s solo
female classical dance. The term Mohiniyattam comes from the word
“Mohini” meaning a beautiful woman and “attam” means dance. It was also
known as Nangai Natakam, Tevitichiyattam etc.

EVOLUTION

In the 19th century, it gained prominence under the rulers of Travancore in

Kerala and Vedivelu, one among the Tanjore Quartet.

After its decline, the efforts of famous Malayali poet V.N. Menon and Kalyani
Amma (the mother of Mohiniyattam) revived it.

IMPORTANT FEATURES

It emphasis o the Lasya style of the recital, which is feminine in nature

The dance form is characterised by graceful, swaying body movements with

no abrupt jerks or sudden leaps.

White and off-white are the main colours used for dancer’s costume

The grace and elegance of Bharatnatyam is combined with the vigour of

Kathakali

It recounts the story of the feminine dance of Vishnu

The movements in dance performance resemble the waves of the sea and
swaying of the coconut, palm trees and paddy fields.

FAMOUS PROPONENTS

Madhuri Amma Jayaprabha Menon Sunanda Nair

Arti Chhawari Module 2- Indian Dance Forms Page 6

 Kuchipudi
Around the third decade of the 20th century, it emanated from an exquisite dance-
drama of the same name. It gets its name from Kusselavapuram village of
Andhra Pradesh.

EVOLUTION

Kusselavas, a group of mobile actors, initially performed it. When Vaishnavism

started, it began to perform at temples as it was monopolished by male Brahmins.

Later, it got popularized among female dancers as well. Vijayanagar and Golconda
rulers patronized it. Prior to being revived by Balasaraswati and Ragini Devi in the
20th century it was only confined to villages.

ELEMENTS

Jala Chitra Taragam : Feet are

Nrityam: while balanced on the edges
dancing, pictures are of a brass plate with a
drawn with feet on water pot balanced
Manduk Shabdam: on the head
A Frog’s story. the floor.

IMPORTANT FEATURES
Stories of Bhagwatpurana became central theme of recitals, and the dancers came to be known as
Bhagavathalus. The earthly elements in the human body are represented in Kuchipudi.

In this dance form, Shringaar Rasa plays a predominant role. Lasya and Tandav are equally important.

Each character introduces itself with a “daaru”, which is a small composition of dance and song, for the
revelation of each character. Carnatic music played using Violin and Mridgangam.

FAMOUS PROPONENTS

Radha Reddy

Indrani Rehman

Arti Chhawari Module 2- Indian Dance Forms Page 7

 Kathak
Kathak is the traditional dance form from North India. The word ‘Kathak’ has been derived
from the word ‘katha’ which means a story. Kathakars or story tellers are people who
narrate stories largely based o episodes from epics, with gestures and music.

EVOLUTION

The Vaishavite Cult and the Bhakti movement contributed to a whole new range of lyrics
and musical forms. During the Mughal period the dance form transitioned from temple
dance to court dance. It started emulating Persian costumes and styles of dancing.

ELEMENTS

The rhythms are

Thaat constitutes
called
soft and
Tara,Tukda and
distinguished
Parana
movements

A competitive
play between
Ghat bhaav- Different dancer and tabla
Kramalaya is the mythological chapters player is called
last piece, in which are highlighted without jugalbandi
complex and rapid music or chanting
footwork is
performed

In Padhant, complex
Pure rhythmic
bols are recited and
movement
demonstrated
before the end is
called Tarana

Arti Chhawari Module 2- Indian Dance Forms Page 8

IMPORTANT FEATURES

LUCKNOW: Culminated
Dhrupad music is played in Kathak under Nawab Wajid Ali
Khan; more emphasis on
expression and grace.

JAIPUR : was started by

Tarana, Thumri and Ghazals were
Bhanuji; more importance
introduced by the Mughals on speed fluency .

BANARAS : Janakiprasad
led its growth. A lot more
Various Gharanas that developed were: floorwork is done and
symmetry is important.

FAMOUS PROPONENTS

Birju Maharaj Lacchu Sitara Devi Damyanti

Maharaj Joshi

Arti Chhawari Module 2- Indian Dance Forms Page 9

 Odissi
It derives its name from the ‘Odhra nritya’ mentioned in Natya Shastra. Some of the
earliest evidence of Odissi dance is found in the caves of Khandagiri- Udaigiri.

EVOLUTION

For centuries, the ‘Maharis’ were the chief repositories of this dance form. It was
patronised by the Jain King Kharvela. The Mahari system became obsolete with the growth
of Vaishnavite influence in the region. Later, young boys, known as ‘Gotipuas’, were
recruited and dressed as females to continue the art form.

‘Nartala’, a variant of Odissi dance form, continued to be practiced at the royal courts. The
12th century Gita Govind by Jaydeva also inspired the Odissi dancers and provided themes
for the dance. The efforts of Charles Fabri and Indrani Rehman led to its global
recognition in the mid-20th century.

ELEMENTS

Mangalacharan- it is the opening item where the

dancer slowly enters the stage with flowers in hands
and offers them to mother earth

Batu nritya- it comprises of both

nrita and nritya

Pallavi – it includes the ornamentation of music,

facial expressions and dance moves.

Tharijham – It consists of pure dance before the

conclusion.

Moksha- It is the concluding item where pallavi and

abhinaya are performed to signify liberation. Also
known as trikhanda manjuri

Arti Chhawari Module 2- Indian Dance Forms Page 10

IMPORTANT FEATURES

 Mudras and postures are used to express emotions, similar to

Bharatnatyam.
 The Tribhanga Mudra consists of 3 bends in the body, at the
neck, waist and knee. Hence, the body is oppositely curved
which gives it a gentle ‘S’ shape.
 The dance form is also known as ‘mobile sculpture’ as the
dancers create intricate geometrical patters with their bodies.
 Facial expressions, hand gestures and body movements are
used to present the nine Rasas.
 The dance movements represent the element of water

FAMOUS PROPONENTS

Sonal Kiran Segal Guru

Mansingh Kelucharan

Arti Chhawari Module 2- Indian Dance Forms Page 11

 Manipuri
The origin of the dance form is associated with the dance of Shiva and Parvati in the valley
of Manipur. It manifested from epics, ‘Ramayana’and ‘Mahabharat’, where the native
dance experts of Manipuri are referred to as ‘Gandharvas’. The Gandharvas were singers,
dancers & musicians associated with the devas or the deities.

EVOLTUION

In 20th century, the efforts of Rabindranath Tagore increased the visibility of this dance
form when he introduced it in Shantiniketan. With the arrival of Vaishnavism in the 15th
century, themes based on the life of Radha and Krishna was introduced.

IMPORTANT FEATURES

During recital, ‘Pung’, a drum, is used

with the kartals and dhols etc.

Both Tandav and Lasya are used but

latter is more imporatant

Nagabhanda mudra is an imporatnat posture, in which the body of dancer is

connected through curves in the shape of ‘8’.

The focus on devotion rather than sensuality is its unique feature. Rasleelas,
Sankirtana and Thang-ta are the most popular themes of Manipuri dance.

There is limited use of mudras in the Manipuri dance. Most of the expressions
are conveyed entirely through body movements.

FAMOUS PROPONENTS

Guru Bipin Bimbavati devi Jhaveri sisters

Arti Chhawari Module 2- Indian Dance Forms Page 12

 Sattriya
The dance form was introduced in 15th century A.D. by Saint Shankaradeva to propagate
Vaishnavism. It derives its name from the Vaishnava monasteries known as Sattras, where
it was nurtured and preserved for centuries. Later, it evolved into two separate streams-
the Gayan bhayanar Nach and Kharmanr Nach.

IMPORTANT FEATURES

 The dance was introduced by combining different

elements from various treaties, local folk dances
prevalent in Assam, specifically Ojapali and
Devadasi.
 The principles related to host mudras, footwork,
music, etc are strictly followed.
 It combines both Lasya and Tandav elements and
also emphasis on rhythmic syllables and dance
postures.
 It is generally performed by male monks known as
Bhokots as part of their daily rituals.
 Khol(drum), taals(cymbals) and flute are the major musical instruments used in ths
dance forms.
 The costumes are usually made of pat silk in Assam. It is derived from the mulberry
plant and woven with intricate local motifs
 The songs are the compositions of Shankardeva known as Borgeets.

FAMOUS PROPONENTS

Krinakshi Kashyap Dakshina

Vaidyanath

Arti Chhawari Module 2- Indian Dance Forms Page 13