The origin of Indian classical dances dates back to the prehistoric period several centuries before Christ. Scientific and archeological evidences endorse this point.
The Myths point out that the 'Thandava nritha' performed by Lord Siva embodies creation, sustenance and destruction. Lord Siva is considered as an embodiment of dance.
Lord Brahma was pressurised by other Dewas to create Something for the enjoyment of the common people. Brahma created a fifth Veda taking out the essence from the four other Vedas. This fifth veda came to be known as 'Natyaveda'. Lord Brahma entrusted this to Bharathamuni to popularize. Bharathamuni was an ascetic who is supposed to be lived between the first and second century. He wrote the first authoritative treatise for Indian traditional dances, called 'Natyasasthra'. Natyasasthra contains the basic principles of all types of dances.
The themes of Indian classical dances are invariably taken from 'Puranas' and 'Ithyhasas'. As the dance progresses, it passes through three different stages.
a) Nritha:- This constitutes the rhythm created by the instruments that accompany the dance and music.
b) Nritya:- Here the dancer starts dancing to the tune of the music and the percussion instruments that follow. With her/his peculiar foot-work, the 'noopura' anklets follows the instuments and music and the three collectively creates a state of synchronization. At the same time the peculiar 'Bhavas' (emotions) appears and disappears on the face of the dancer and her body also follows the rythmic patterns.
c) Natya:- This is the stage of ' Abhinaya' (miming-acting). As the story demands different kinds of emotions appear and disappear on the dancers face. (dramatic elements are embedded in the dance recital) The foot-work is slightly reduced at this stage. There are nine different types of' bhavas' (emotions), as follows,
i) Hasya (happiness)
ii) khroda (anger)
iii)Bhibhatsa (disgust)
iv) Bhaya (fear)
v) Vira (courage)
vi) Karuna (compassion)
vii) Adbhudha (wonder)
viii) Santa (serenity)
ix) sringara (love)
Indian classical dances originated in temples. The beautiful girls danced in front of the presiding deity to worship it. The dances in each region of India grew in different ways as per the customs and traditions of that region. The lady dancers in temples were called 'Devadasis'. ( 'worshippers of God'). They were placed in high esteem by the society.
Later on ruling kings of different dynasties came to enjoy the beautiful art form. They began to patronize the dancers. They loved their dance and their bodies also. That was a stage of defamation to the devadasis. People started to see them as prostitutes. However, Indian dances have now regained their glorified past. Dances have now come out from temples to stages. The modern dancers have brought many renovations in the classical dances; but all rooted in the traditional principles of Natyasasthra.
Now the glory of Indian dances has spread to various parts of the globe......Read more
Lord Brahma was pressurised by other Dewas to create Something for the enjoyment of the common people. Brahma created a fifth Veda taking out the essence from the four other Vedas. This fifth veda came to be known as 'Natyaveda'. Lord Brahma entrusted this to Bharathamuni to popularize. Bharathamuni was an ascetic who is supposed to be lived between the first and second century. He wrote the first authoritative treatise for Indian traditional dances, called 'Natyasasthra'. Natyasasthra contains the basic principles of all types of dances.
The themes of Indian classical dances are invariably taken from 'Puranas' and 'Ithyhasas'. As the dance progresses, it passes through three different stages.
a) Nritha:- This constitutes the rhythm created by the instruments that accompany the dance and music.
b) Nritya:- Here the dancer starts dancing to the tune of the music and the percussion instruments that follow. With her/his peculiar foot-work, the 'noopura' anklets follows the instuments and music and the three collectively creates a state of synchronization. At the same time the peculiar 'Bhavas' (emotions) appears and disappears on the face of the dancer and her body also follows the rythmic patterns.
c) Natya:- This is the stage of ' Abhinaya' (miming-acting). As the story demands different kinds of emotions appear and disappear on the dancers face. (dramatic elements are embedded in the dance recital) The foot-work is slightly reduced at this stage. There are nine different types of' bhavas' (emotions), as follows,
i) Hasya (happiness)
ii) khroda (anger)
iii)Bhibhatsa (disgust)
iv) Bhaya (fear)
v) Vira (courage)
vi) Karuna (compassion)
vii) Adbhudha (wonder)
viii) Santa (serenity)
ix) sringara (love)
Indian classical dances originated in temples. The beautiful girls danced in front of the presiding deity to worship it. The dances in each region of India grew in different ways as per the customs and traditions of that region. The lady dancers in temples were called 'Devadasis'. ( 'worshippers of God'). They were placed in high esteem by the society.
Later on ruling kings of different dynasties came to enjoy the beautiful art form. They began to patronize the dancers. They loved their dance and their bodies also. That was a stage of defamation to the devadasis. People started to see them as prostitutes. However, Indian dances have now regained their glorified past. Dances have now come out from temples to stages. The modern dancers have brought many renovations in the classical dances; but all rooted in the traditional principles of Natyasasthra.
Now the glory of Indian dances has spread to various parts of the globe......Read more
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