Eternal India Encyclopedia

Eternal India encyclopedia

D A N C E

As per Natya Shastra there are 24 sirigle-hand gestures (Asamyuta Hasta) and 13 double-hand gestures ( Samyuta Hasta ) and 30 Nritta hastas. The hastas or hand gestures facilitate the expression of the chosen composition or sahitya. Each hasta carries a different shade of meaning. Abhinaya Darpana lists 28 single-hand gestures and 24 double-hand gestures. Rasa and Bhava are represented through the skilful and sensitive handling of facial expressions supplemented by the body movement. Bhava means an emotion and its external expression. If the audience absorbs the bhava it produces rasa or an enjoyment of the bhava. A. rasa is a result of Sthayi Bhava (permanent state) producing a pleasurable sensation through the operation of transi- tory ( Vyabhichari ) states. The rasa is a response to bhava.

There is a three-fold division in Indian dance. The first is nritta or pure dance which is an expression of body movement. Nritya combines pure dance with the expression of emotion using the body, face and eyes. Natya is the art of drama, through which a dancer develops a theme or. tells a story. Abhinaya means literally "to carry forward", that is, present a theme to the audience, natya in its fullest development. There is again a two-fold division of Nritta and Nritya into Lasya and Tandava, the graceful and virile aspects. Most of the texts give the course of a dance programme thus: Having made the invocation, the dance may begin. The song should be sustained in the throat; its meaning must be shown by the hands, the moods must be shown by the glances, time is marked by the feet. The fourfold division of Abhinaya Through the four modes of Abhinaya, the ideas and emotions of a dancer are reflected. The modes of expression are purely physical ( Angika ), song and speech ( Vachika ), ornamental ( Aharya ) in-

Rasa-s

Static emotions

-

(amorous)

Love

Sringaara

1.

-

(humorous)

mirth

Haasya

2.

-

(pathetic)

grief

Karuna

3.

-

(furious)

anger

Rudra

4.

-

(valorous)

enthusiasm

Vira

5.

.

-

(horrific)

fear

Bhayaanaka

6

-

(repugnant)

disgust

Bibhatsa

7.

8 .

- -

(wondrous)

surprise

Adbhuta

(blissfdl-rpeaceful)

placidity

Shaanta

9.

(Shaanta rasa was added later by scholars.)

STYLES OF CLASSICAL DANCE Indian dance developed as a form of theatre presentation for public entertainment only in the early decades of the 20th century. Indian classical dance forms are both solo-oriented and group-ori- ented. There were four dance forms, namely, Bharatanatyam, Kathakali, Kathak, Manipuri. Odissi, Kuchipudi and Mohiniattam have been added in recent years. Though each style has evolved a distinct technique, owing to historical and social changes, they have certain common aesthetic principles, technical features and a mythological unity. BHARATANATYAM : Bharatanatyam is the art form of South India, which was popularly known as Sadir Nautch, Attam, Dasi- attam or Koothu. In music and dance circles it was termed chinna melam and Bharatam. After undergoing a period of disrepute, this form was rescued and revived by E. Krishna Iyer and Rukmini Devi. In its revived form the term Bharatanatyam was applied to this art form and it was presented on the professional stage. As seen today, Bharatanatyam has a beautiful repertoire of nrita, nritya and abhinaya. It was introduced in the nineteenth century by the versatile artistes — Ponniah, Chinniah, Shivanan- dan and Vadivelu — four brothers attached to the court of King Sarfoji of Tanjore. Being musicians and composers of exceptional skill, they set up a tradition for solo dance, ‘Sadir’ comprising a scheme of items with a rich content of Bhava, Raga and Tala.

volving the use of costumes, make-up or stage sets and emotional (Satvika). Abhinaya is conveyed through Natyadharmi (stylised) or lokadharmi (realistic) representation. While referring to Angika Abhinaya, the Natya Shastra analyses the human form, dividing it into two principal parts as major and minor limbs. The six major limbs (anga) are head, hands, breast, sides, waist and feet. The six minor limbs (upanga) are eyes, eye brows, nose, lower lip and chin. The Natya Shastra further analyses the movements thus : the movement mainly with a single foot is called a Chari. The movement which combines both the feet and hands is called a Karana. The combination of three Karana-s is called a Khanda. The combination of three or four Khandas make up a mandala. Sthanaka is a posture taken before the movement starts.