Classical Indian musical theatre
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Classical Indian musical theatre is a sacred art of the Hindu temple culture. It is performed in different styles. Its theory can be traced back to the Natya Shastra of Bharata Muni (400 BC). The Sangeet Natak Akademi currently confers classical status on eight styles:
Classical Indian musical theatre, at its best is Natya Yoga, has the most powerful means to lead its worshippers – the artist – to the Divine. It is a sincere depiction of the Divine. It is a sincere depiction of the realities in life, an embodiment of the imagination and gracefulness, the very soul which thereby creates as it were the “Idol of the Beautiful”.
While Bharatanatyam, Odissi and Kuchipudi are the orthodox styles that claim to preserve the knowledge of the Natya Shastra most faithfully, Kathak is different from other styles as it is a mixture of the Persian dance and the Indian folk dance movements. It derives its name from the community of Kathaks, who are custodians of the art. It is from this house (ghar) or family that this form has taken its origin. The words Kathak and Kathakali are derived from katha meaning storytelling and kali meaning play. Kathak – storytelling and Kathakali – story play. The Kathak dance style was founded by the master Maharaj Binda Din. Kathak dancing performed by a dancer who stands and moves about and lasya (the aspect) in which the dancer kneels or remains immobile the whole time except for the (gat) a descriptive passage, performed in a gentle rhythm and tells stories with his expressive powers only, with his face and hands. It is astonishing what enchantment such a dancer can weave.
Then we get the tremendous melodramatic Kathakali. On the physical side the dancer must have perfect control of his body and limbs, which is achieved at least 12 years of study. Special massage is given to the feet. The Kathakali technique of using the face expression is a pure marvel of accomplishment. Some ancient masters of this dance have such control of their facial muscles that they can laugh with one side and cry with the other. Every Kathakali must be master of both tandava (vigorous masculine style at changing from one style to another). Lasya is divided into two categories; one suitable for men (for presenting love scenes, displays of sympathy and sentimed and so on) and the other for women who take female roles. Therefore women may study Kathakali but not take part in the pure dance drama which is too vigorous and difficult for them. It is therefore understood that Indian dancing is not just physical movements of hands and legs. It is a form of physical art with body and mind for both men and women alike as well as a form of worship to the Almighty Divine Gods.
[edit] References
- Auntrose, K., Classical Dances and costumes of India
- Banerji, P., Kathak Dance through the ages
In the modern days, Kathakali is also learned and performed by women. There is even a whole women Kathakali group near to Kochi in Kerala.
A very important feature of Indian classical dances is the use of Mudras or hand gestures. Mudras are used by the artists to express their feeling or even the whole story.
[edit] External links
- Classical Indian dance at the Open Directory Project (suggest site) -- over 250 links to Classical Indian Dance resources
- Vimoksha - An informative portal on various forms of Indian classical dance, dance schools and teachers and information on Carnatic and Hindustani music
