ME_Classical_Indian

Classical Indian Dance

Class at Pennsic 30

August 5-19, 2001

By Lakshmi Amman

For further information, contact: beth@pir.net

Day 1

Lecture

History of Bharata Natyam

Dance of devadasis, revived by Brahmin women around the turn of the century and slightly later
Hard to trace specific change in movements, other than the dance was made more proper
Context of dance moved from temples to formal dance performances more like European dance
Movement from sringara – erotic sentiment to bhakti – spiritual devotion, considered a more acceptable mood to portray.
Lately, return movement to sringara and to respect for formal temple traditions.
Best source is the Natya Shastra, originally composed circa 800AD. Delineates all aspects of dance-drama, called natya, including theater setup, relevant rituals, particular dance movements, positions and combinations, clothing, and methods of characterization, and much more.

Devadasis

Literally "servant" or "slave" to the god. Theoretically married to the god. Their actual status is not completely known. They may have been very well educated, affluent and independent women. They may have been prostitutes dependant upon priests in the temple for sustenance.
As a wife to the god of the temple, a devadasi was particularly auspicious because she would never be a widow. There are a number of rituals that mention means for gaining luck from a devadasi.
Devadasis do seem to be somewhat dependant on temples or kings for support. There are records of kings transferring devadasis from temples to royal court.
Devadasis may have been quite educated – they certainly needed knowledge in Hindu mythology for choreographing dances. What else they may have been expected to learn is not known.
Courtesans – it is difficult to tell whether devadasis were courtesans, but it is notable that most courtesans in poetry and stories are also dancers. Their dance is usually described as sexually attractive. Whether the courtesans from stories are also devadasis is not particularly clear. The stories do not generally connect the courtesans with temples.
By 1900, the status and power of the devadasi had significantly deteriorated. After Islamic conquest and English colonization, the power and financial security of the temple had eroded to the extent that most devadasis where forced to prostitute themselves for sustinence. At the present time, devadasism has been outlawed in India. It is now forbidden to dedicate female children to temple service.

Other dancers

Yakshis/Yakshas – tree spirits, not necessarily dancers but usually portrayed in dance poses in sculpture
Apsarsas and gandharvas – celestial dancers and musicians who reside in heaven and entertain the gods.
Male dancers are portrayed in sculpture and literature, though not as prominently as females. There is no comparable position to devadasi or courtesan for males.

Dance within historical culture

Hindu temple dance was continued through the tradition of devadasis
Devadasis, literally servants or slaves of the god, are women who performed in temples for the amusement of the idol of the temple.
Devadasis were also seen performing for the king at court and in other venues for the common man.
Dance texts also describe the performance of dance and theater as a way to educate and spiritually uplift the masses.
Dance is considered one of the 64 arts associated with proper education and personal achievement for both men and women

Dancing

Stretching

It is particularly important to stretch the feet and legs, pay particular attention to posture while stretching and stretching the lower leg.
Stretching the torso is no so important, focus on arms, head and eyes.
Unusual stretches:

Head – side to side, up/down, circles
Eyes – side to side, up/down, circles
Hands – kataka mudra to alaputma mudra
Legs – hold hands clasped in front, squat onto heels, knees out and stand.

Opening prayer steps – the dancer always begins and ends practice with a prayer/dance dedicating the earth that will be danced upon. It is unknown from when this tradition dates.

Stand in Samamunda, hands held in Shikara in the center of chest, thumbs pointing up.
Stamp right foot, stamp left foot
Extend hands/arms forward, reverse hands so thumbs are pointing down, bring hands back to chest.
Bring hands outward to sides, thumbs rotated to point back, transfer hands to Pataka
Spread feet and sink to Puramunda, hands come down to floor in front of you, hands in pakata.
Touch floor
Raise hands to face (blessing yourself with the earth)
Raise up to Aramunda, bringing hands in circle to Anjali over head.
Put right foot on toe behind left foot, bringing hands down to center of chest.

Posture

Posture - grounded, upright,

Legs in proper position (one of the positions below), usually symmetric
Butt – sticks out and somewhat up
Chest – at attention, centered over legs/hips
Arms – standard position is out to sides, palms down, thumb tucked in, elbows bent slightly or palms out, thumbs out, behind back
Head and eyes forward

Stamping – hit ground with whole foot, raise it definitely and precisely
3 speeds to each movement
Moving arms, head, and eyes should be precise, blinking as little as possible.
Hands are midway between tensed and relaxed.

Positions

Samamunda = standing, toes forward
Aramunda = knees bent

Major steps

Tattu – stamp, done with toes pointing to sides or corners
Nattu – to the side, diagonal, to the front, facing side with foot out
Mettu – toes on floor, heel up. When this position is reached by jumping onto toes, it is called egru-mettu.
Svastika – crossed onto toe, weight bearing foot in front and behind
Hopping onto toes
Hopping through space
Stamping with previous movements

Puramunda = sitting on heels

Balance – should be on top of heels, very grounded, with rear end sticking out.
Jumping – into the air and landing back on heels
Going to a knee – weight stays in the center

Tattu Adavu

Adavus are practice components that are frequently combined as elements of a dance. Practicing them allows the dancer to build up stamina and refine the movements so they are as perfect as possible for future choreographies.
Tattu Adavu – practice to improve stamina and perfect the basic stamping movents. Series of 8 separate stamping steps:

R/L
RR/LL
RRR/LLL
RRRR/LLLL
R,R,RRR/L,L,LLL
RRR(pause)RRR/LLL(pause)LLL
RRRLRRR/LLLRLLL
RRRLRRRR/LLLRLLLL

Samamunda movements

Walking – raise heels with steps, small graceful steps – forward and backward
Side step – raise feet, place outer foot out, replace with inner foot, be sure to lift heels
Stamping – feet straight, toes pointing forward
"heel-step-step" – raise heel on R foot, stamp with L foot, stamp with R, repeat on opposite side
"hard and soft steps" – usually done with a hard step on right foot, and soft step on left
Adavu:

Left hand side, pataka, palm down, right hand at chest, pataka, palm up, samamunda position
Step right, looking left.
Replace left, look front
Raise toes and raise R hand to vertical, fingers up
Stamp R, drop hands and drop eyes
Switch arms and repeat entire process going left.
L hand over head, hands kataka, fingers up, R hand alaputma, fingers down at chest
Step forward right, start to raise R hand and eyes
Step forward left, finish raising, R hand should be at chest, fingers up, and eyes forward
Raise toes
Stamp R, drop R hand so fingers are down, drop eyes.
Repeat second section on left side.

Single hand mudras (see next section)
Closing Prayer (same as Opening)
Stretches – be sure to stretch out anything that is sore.

Day 2

Lecture

Hinduism and dance

One of the ways to practice Hinduism involves the experience of individual spiritual ecstasy which brings one closer to the divine

Performance and appreciation of dance can be one of the ways to experience this ecstasy.

Another way to achieve ecstasy is through experiencing love. Love between humans reflects love of the divine.

Performance components & aestetics

Abhinaya – expression and meaning – use of movements and expressions to convey meaning and feelings within the dance. Some dances are high in abhinaya, some are pure dance (nritta) and some are a combination of both.

Rasas – the expression of sentiment as portrayed in all forms of art. The most quoted are sringara (erotic, romantic), hasya (comic, humorous or contemptible), karuna (compassionate), vira (heroic, brave), raudra (fear or anger), bhayanaka (horrific), bibhatsa (repellant), adbhuta (wonderful), shanta (tranquil) and soka (sorrow).

Sringara – is the most often used rasa, there are separate subdivisions of how sringara is portrayed between heroes and heroines.

Tandava/lasya – are the male and female forms of dance. Tandava is vigorous and rough, while lasya is graceful and seductive.

Three components – abstract dance (nritta), expressive dance (abhinaya), and a combination of the two (nritya)

Slokas/nritta

Sloka – a non-rhythmic chant with accompanying gestures with meaning illustrating the meaning of the chant. Generally some sort of hymn in praise of a god, or describing a sacred concept.

Nritta – purely rhythmic section – consists of the dancer stamping and moving according to the rhythm of the song. Generally does not have deep layers of meaning. Dancing competency and stamina are extremely important as the nritta may be quite long, and requires fast, precise movements.

Accompaniment – the sloka is accompanied by a singer, and possibly a leader playing the tala (cymbals). The nritta is always accompanied by tala, as this forms the rhythm the dancer will be dancing to. Other instruments and possibly song will also accompany the dancer.

Dancing

Stretch

Also added hops to build strength

Opening prayer

Tattu Adavu

Quick review

Nattu Adavu selections:

Adavu 1 – start hands tripataka, hands to sides, aramundi position

Right heel to side, R hand, palm up, look R

Right foot stamp, R hand, palm down, look front

Repeat on left side

Adavu 2 – same starting position

R foot svastika (behind on toe), R hand to chest, palm up, look L

L foot stamp, R hand palm down

Right heel to side, R hand, palm up, look R

Right foot stamp, R hand, palm down, look front

Repeat on left side

Adavu 3 – start hands tripataka, hands at chest, fingers up

R foot heel to corner, R hand pointing toward heel, bend down

L foot stamp

Return to starting position – R foot stamp

L foot stamp

R foot svastika, R hand over head, fingers up, look left

L foot stamp

R heel side, R hand to side, palm up, look R

R stamp, R hand, palm down, look front

Repeat on left side

Adavu 4 – start hands kataka, at chest

R foot heel to corner, both hands to alaputma pointing toward heel, bend down

L foot stamp

Return to starting position – R foot stamp

L foot stamp

R foot svastika, R hand alaputma at chest, palm up, L hand to side, look L

L foot stamp

R heel side, R hand to side, palm up, look R

R stamp, R hand to kataka, look front

Repeat on left side

Adavu 5 – start same as 4

R heel front, hands to either side of foot, alaputma

L stamp

Back to starting position, R stamp

L stamp

Repeat on left side

Adavu 6 – same start position

R heel side, lean over foot, spreading hands to sides in alaputma, palms up, look at R hand

L stamp

Flip to L, lunging, hands into kataka, knuckles up, look up, facing left

L stamp (sort of a hop)

R foot svastika, L hand to side, R hand alaputma, palm up, to chest, look L

L stamp

R heel to side, R hand to side, look R

R stamp, R hand to kartaka.

Repeat on left.

Double hand mudras

Prayer

Stretch
Day 3

Clothing

Both males and females wear a draped garment that allows for deep knee bends and hangs attractively when the legs are bent.

Silk and cotton are popular fabrics produced in India during this period. Most elaboration is done by resist printing or by weaving a pattern into the fabric.

Choli tops are worn by both sexes, although the use is not as common in South India, and is certainly not standard for dancers. Most dancers are portrayed topless or with a minimal chest band in paintings and sculpture.

Dancer also went bare chested or with breast bands.

There is much elaborate jewelry, usually gold with pearls or gems. Necklaces, earrings, bracelets, arm bands, anklets, toe rings, hair ornaments, and hip belts are some of the jewelry worn by dancers.

Hair – long braids, hair piled above the head in elaborate coifs, hair ornamentation of gold or strings of pearls. "Hair serpents" made of interlocked gold plates are designed to ornament the braid.

Cosmetics – kohl used to line the eyes, lac used to dye fingertips and toes toes red. Both have a certain functionality. The black eye liner allows eye movements to be more clearly seen and the red dye emphasizes and clarifies the minute finger movements that need to be seen to interpret mudras.

Performance Components

Alarippu – abstract piece with little or no musical accompaniment, often a display of the various things a dancer has learned.

Jatisvaram – also abstract, a display of the combinations of adavus that have been learned in increasing complexity

Sabdam – pure dance alternating with mime, generally describing the qualities of a hero

Varnam – pure dance accompanied by descriptive dance enacting the lyrics. The two forms alternate. Displays dancer’s command of rhythmic component, ability to express, and stamina.

Padams/javalis – expressive performance to songs of a an erotic nature. These pieces have been described as lewd and lascivious in the past, but are starting to be performed more often modern dancers.

Tillana – the ultimate form of dance. Mostly abstract movements with a few lines of text, usually at the end of composition. Mostly drum accompaniment.

Sloka – free verse dedicated to a god or goddess.

Mangalam – generally end of performance – dancer offers obeisance to mother earth – the "Open prayer" is such a piece.

Dance

Stretch

Also added hops to build strength

Opening prayer

Tattu Adavu

Quick review of Day 1 and Day 2

Head/Eyes

Head – slides, various positions

Eye – slides, up/down, circles

Eyebrows – raise with head or eye slides

Mouth – not quite sure what the appropriate movements are. It has been suggested that mouth movements where removed as part of the Bharata Natyam revival.

Expression – is quite hard to define. It should at least be pleasant. For abhinaya-heavy pieces, the expression should convey the attitudes of the character, or the feelings occurring to the character. Well done abhinaya pulls in the audience and inspires them to feel the feelings in the piece.

Mettu Adavu selections:

Adavu 1 – start hands tripataka, at chest, palms up

R toe

R step – R hand to side, down, lean to R, look at R hand, keep shoulders straight

L toe, return hands to start position

L stamp – L hand to side, down, lean to L, look at L hand, keep shoulders straight.

R toe, return to start

R stamp – R hand up to corner, palm out, look at hand, no leaning

L toe, return to start

L stamp – L hand up to corner, palm out, look at hand, no leaning

Adavu 2 – same start position

R toe

R stamp – R hand to side, down, lean to R, look at R hand, keep shoulders straight

L toe, return hands to start position

L stamp – L hand to side, down, lean to L, look at L hand, keep shoulders straight.

R toe, R hand up to corner, palm out, look at hand

R stamp, flip R hand so that palm is in

L toe, (return R hand to chest), L hand out to corner, palm out, look at hand

L stamp, flip L hand so that palm is in

Adavu 3 – same start position – this is egru-mettu

Jump onto toes

R stamp – R hand to side, down, lean to R, look at R hand, keep shoulders straight

Jump onto toes – return to start position

L stamp – L hand to side, down, lean to L, look at L hand, keep shoulders straight.

Jump onto toes – return to start position

R stamp – R hand up to corner, palm out, look at hand, no leaning

Jump onto toes – return to start position

L stamp – L hand up to corner, palm out, look at hand, no leaning

Another Adavu – start hands to sides, hands kataka

Jump onto toes, hands alaputma

Jump onto flat feet, hands kataka

Jump onto toes, hands crossed at chest, in alaputma

Jump onto flat feet, hands kataka

Jump onto toes, hands crossed over hed, in alaputma

Jump onto flat feet, hands kataka

Jump onto toes, L hand kataka at chest, R hand alaputma to back

Jump onto flat feet, R hand crossed over L at front, both kataka

Jump onto toes, R hand kataka at chest, L hand alaputma to back

Jump onto flat feet, L hand crossed over R at front, both kataka

Jump onto toes, L hand to side in pataka, R hand crossed to L corner, alaputma

Jump onto flat feet, R hand to center, kataka

Jump onto toes, R hand to side in pataka, L hand crossed to R corner, alaputma

Jump onto flat feet, L hand to center, kataka

Puramunda movements

Jumping

Jump, onto one knee

Hands can be done with this similar to the first mettu adavu

Jump, lunge

Bibliography

Begde, Prabhakar V. Living Sculpure: Classical Indian Culture as Depicted in Sculpture & Literature. New Delhi: Sagar Publications, 1996.

great for sculpture, dance, aesthetics, ornament, hair, and cosmetics in Ancient India (mainly circa 1200)

Board of Scholars. The Natya Shastra of Bharatamuni. Delhi: Sri Satguru Publications, 2000.

- translation of Bharata’s Natya Shastra. Very complete, but not always particularly unified

Gaston, Anne-Marie. Bharata Natyam: From Temple to Theatre . New Delhi: Manohar Publishers & Distributors, 1996.

- great overview of dance and dance training from approxiamately 1900-modern day. Great for detailed look at what dance has evolved to from the beginnings of Bharata Natyam to the present day.

Hiriyanna, M. The Essentials of Indian Philosophy . London: Diamond Books, 1996.

- heavy duty historic philosophy text, very detailed and grounded in historic religious texts

Mitchell, George. The Hindu Temple . Chicago and London: The Univeristy of Chicago Press, 1988.

- book about the position of the temple in Hindu society and religion

Randacharya, Adya. The Natyasastra, English Translation with Critical Notes. New Delhi: Munishiram Manoharlal Publishers Pvt Ltd, 1996.b

- translation of the Natya Shastra by a reknown theater expert. Very cohesive, but not complete (translator passed away before completion and publication).

Sindhoor, Aparna. Dance teachings in Cambridge, MA. August 1999- July 2000.

- Mysore style, a style with a great focus on abhinaya and sringara, very detailed and precise movements

Triveni Dance Studio, Dance teachings in Brookline, MA. September 2000- February 2001

- more generic dance classes, Madras-based style, quicker learning, less detail oriented
Useful Sites

Though not particularly used for this class, a number of useful sites for Indian danceh and other persona related research and supplies can be found at:

http://www.pir.net/~beth/LakshmiLinks.html