Dance in India

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Dance in India has its origins in antiquity and continues in both classical and modern styles into the present. The presentation of Indian dance styles in film, Bollywood has exposed the range of dance in India to a global audience.^{[citation needed]}

Contents 1 Classical Indian dance 2 Indian folk dances 2.1 Shaivite tradition 2.2 Vaishnava tradition 3 Bollywood 4 References

[edit] Classical Indian dance

Main article: Classical Indian dance

India offers a number of classical Indian dance forms, each of which can be traced to different parts of the country. Each form represents the culture and ethos of a particular region or a group of people. The eight main styles are^{[citation needed]} Bharatanatyam, Kathak, Odissi, Kuchipudi, Mohiniattam, Manipuri and Kathakali. Besides, there are several forms of Indian folk dances such as Bhangra, and special dances observed in regional festivals.

Most Indian dance is based on the treatise Natyashastra by the sage Bharata Muni, which explains the Indian art of acting. Acting or natya is a broad concept which encompasses both drama and dance.

Indian classical dance is a misnomer, and actually refers to Natya, the sacred Hindu musical theatre 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 "dance" forms:^{[citation needed]}

1. Bharatanatyam
2. Kathak
3. Kathakali
4. Kuchipudi
5. Manipuri
6. Mohiniaattam
7. Odissi
8. Sattriya

[edit] Indian folk dances

Main article: Indian folk dances

[edit] Shaivite tradition

The Shaivite cult abounds in numerous myths of Shiva and his consort Devi performing dance in their various manifestations. Unlike Vishnu, Shiva is seen almost as a regular dancer performing for accomplishing an objective as also for pure aesthetic delight of his consort and devotees. The tradition hence reveres him as both, 'Adi-nratya-guru' - the first teacher of dance, and Natesh or Nataraja - the king of dance.

In him revealed both faces of dance - 'lasya' and 'tandava', of which all subsequent dance forms were offshoots. 'Lasya', the dance of aesthetic delight revealed beauty, grace, love and all tender aspects of existence. 'Lasya' is the mode that defined many of Shiva's iconographic forms - Kalyana-Sundara, Vrashavahana, Yogeshvara, Katyavalambita, Sukhasanamurti, Vyakhyanamurti, Chinamudra, Anugrahamurti, and Chandrashekhara.

Devi, Shiva's variously named consort, is alluded to have performed dance in her manifestations as Kali - Mahakali or Shamshana-Kali, and Bhairavi. Devi had many other forms, each representing a particular 'bhava'. So did ten Mahavidyas and 'Saptamatrikas'. Each of such forms was modeled using the dance-mode in which its characteristic 'bhava' transpired. Thus, in modeling Devi's other forms, too, a similar dance-iconography was used.

[edit] Vaishnava tradition

Vishnu or his incarnations resorted to dance only on a few occasions, but despite, he is revered as the 'Adi-nratya-guru' along with Shiva and Kali. Vishnu resorted to dance once in his incarnation as Vamana, when in mere two strides he spanned three worlds and won for himself Trivikrama - conqueror of three worlds, or Vishnukrant epithet.

Vishnu as Krishna danced once to subdue venomous serpent chief Kaliya and many times for delighting 'gopis' - Radha in particular.

Indra had at 'Indrasabha' - his court, numerous dancing nymphs - Urvashi, Menaka being better known. Besides dancing, these nymphs were used for seducing opponents. The legend of Menaka seducing sage Vishvamitra and corrupting his fifty thousand years long penance is well known.

[edit] Bollywood

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Main article: Bollywood#Bollywood song and dance

Dance in early Bollywood films, was primarily modelled on classical Indian dance styles and particularly those of historic northern Indian courtesans (tawaif), or folk dances. Modern films often blend this earlier style with Western dance styles (MTV or in Broadway musicals), though it is not unusual to see Western pop and pure classical dance numbers side by side in the same film. The hero or heroine will often perform with a troupe of supporting dancers. Many song-and-dance routines in Indian films feature unrealistically instantaneous shifts of location and/or changes of costume between verses of a song. If the hero and heroine dance and sing a pas de deux (a French ballet term, meaning "dance of two") often staged in beautiful natural surroundings or architecturally grand settings, referred to as a "picturisation".

Bollywood films have always used what are now called "item numbers". A physically attractive female character (the "item girl"), often completely unrelated to the main cast and plot of the film, performs a catchy song and dance number in the film. In older films, the "item number" may be performed by a courtesan (tawaif) dancing for a rich client or as part of a cabaret show. The dancer Helen was famous for her cabaret numbers. In modern films, item numbers may be inserted as discotheque sequences, dancing at celebrations, or as stage shows.

Bollywood producers now release music videos, usually featuring a song from the film. However, some promotional videos feature a song which is not included in the movie.

[edit] References

• Dance: The Living Spirit of Indian Arts by Prof. P.C. Jain and Dr Daljeet
• Indian Dance in Australia at Australia Dancing