Eternal India Encyclopedia

D AN C E

Eternal India encyclopedia

Bhat of Hatiangadi of the 18th century and Vasudev. Prabhu San- thayya and Bhima of the 19th century are valued as great contribu- tions to Yakshagana. Today over a hundred and fifty themes or ‘Prasangas’ are chosen for Yakshagana performances. Sri Se- shagiri Kini of Bhramawar is a renowned Bhagavatar who has had an illustrious career on the stage for over sixty years. Like Kathakali, Yakshagana is rendered in night-long per- formances with elaborate make-up and colourful costume design. CHHAU : The beautiful Chhau tradition Of dancing has evolved in three regions in the east i.e., Bihar, West Bengal and Orissa. They are known as Serai Khella, Purulia, and Mayur Bhanj styles re- spectively. They are presented during the ‘Chaitra Parva’ or spring festival as a part of the puja to propitiate Nata Bhairava.

textually and metrically quite different. Maach was given its present form by Guru Shri Gopalji who migrated to Malwa from Rajasthan and composed the lyrics and dialogues in the local Malwi dialect. The Dhol has a prominent place in Maach as an accompanying instrument and is played along with the Naqqara. Rhythm plays an important part both in the lines recited and sung by the actors. Much of the dialogue is in verse. Dance too has an important role in Maach. THERUKOOTHU OF TAMIL NADU : Therukoothu, which literally means street theatre, is a popular form of folk theatre from Tamil Nadu. It is performed throughout the night at the temples, generally between March and July every year. Combining spoken word, song and dance, the artistes enact episodes from Ma- habharata and mythology. Tall headgears, breast shields and stylized make-up characterize a Therukoothu performance. In- struments like the mridangam, mukhaveena and cymbals are used as accompaniments. FOLK DANCES "Dance is and gives ecstasy" is the basic motif of the dances of the people living in the hills, dales and forests of our country. Folk dances are spontaneous expressions of joy in celebration of the milestones in their lives like births, marriages and harvest. Every village has its own lore and festivals, its own customs and manners, its own system of music and dance. The dances can be classified as occupational, seasonal, mar- tial, devotional and ritualistic. The movements are largely influenced by nature which plays a dominant role in portraying the regional character of folk dances. For instance the beauty of the serene Himalayan range finds expression in the swaying formation of the Rouf of Kashmir, Nati of Himachal and Kumayuni dances of Uttar Pradesh. The Dhuria dance of the Madhya Pradesh tribals depicts through group movements the sowing of paddy, scaring away the birds from damaging crops etc. Ritualistic varieties like Karaga and Kavadi of Karnataka and Tamil Nadu, Nandi Dhwaja, Patakunitha of Karnataka and Bhavai of Rajasthan and Gujarat are very popular. Martial dances like Thangta of Manipur, Velakali and Kalari of Kerala and Paik of Orissa are some of the interesting and exciting varieties. So also the Huttaris of Coorg. Amongst the tribals of Bihar, Orissa and Madhya Pradesh, the seasonal dances are performed in tune with Nature's manifesta- tions. For instance, amongst the Oraons, the Jadur of Bihar is per- formed on the threshold of summer, Karma during the rains and Baroya during the autumn. The Bihu of Assam and Bhangra of Punjab reverberate with the spirit of the Baisakhi (New Year according to the Indian calen- dar) in vigorous movements. Suggi Kunitha of Karnataka, espe- cially the one performed by Halakki Vokkaligas, is an eloquent instance of reflecting Nature's bounty in colour. A unique dance of the season is seen in Thabal Chongbi of Manipur. As the name signifies "dancing in moonlight", it is an occasion for the young people to choose life partners while weaving intricate patterns in dance.

The dancers of Serai Khella and Purulia wear masks, and lay more em- phasis on the perfection of the movement. The Chhau dancers of Mayur Bhanj do not wear masks and are known for their vigorous movements and expres- sions. They also lay em- phasis on the control of body movements. The Chhau dancers undergo rigorous training in basic movements and Karanas, Charis and martial arts. Patronised by the rulers of Mayur Bhanj, this style has a variety of items based on mythology and

puranas. Popular items are ‘Nataraja, ‘Jambadev’, ‘Hunter’, in solo items and ‘Kailas Leela’, 'Garuda Bahvaa,’ ‘Tambudin Krishna and ‘Dhwaj Taal’ in group dances. Sangeet Natak Akademi has launched a total care programme under its project of support to Chhau dances.. A comprehensive survey of about 30 villages in Mayurbhanj district was undertaken to identify Gurus and young talents. SATRIA DANCE OF ASSAM : The Vaishnava monasteries founded by Shri Shanker Dev have preserved a devotional dance form known as Satria Dance or Satri Dance. Jumuna, ‘Shali’ and ‘Ras’ are some of the dances performed by the members of these satras (monasteries). The Jumuna is a type of dance with gestures and movements which are taught to the young inmates of the satra, who have dedicated their lives to the Lord. The other styles of dance prevalent in Assam are the Ojapal dances performed on the occasion of the worship of the serpent Goddess Manasa. The nati-style temple dance is performed by Devadasis. The Kamalbari satra has preserved a variety of satria dances like Ojapali and Chali based on Vaishnava culture. MAACH OF MADHYA PRADESH : Maach is a popular folk theatre largely practised in the Malwa region of Madhya Pradesh over the past two hundred years and is akin to Khyal of Rajasthan and Nautanki of Uttar Pradesh, in its musical focus, though