India-Info title

home contact search menu
Follow on
Snippets of Information
Dance




* 31 Aug 2021
Andhra Natyam, Perini Sivatandavam revived by Dr. Nataraja Ramakrishna - Pinterest Collection
Dr. Nataraja Ramakrishna  hailed from Telangana but was born in Bali in 1923 to Damayanti Devi and Rammohan Rao. Due to his dancing skills he was bestowed with the title 'Nataraja.'
He was responsible for reviving the ancient temple dance forms of Andhra Natyam and Perini.
He revived Perini from its description in the Nritta Ratnavalli written (in 1253-54) by Jayapa Senapati, the 12th century commander-in-chief of the Kakatiya armies, and its depiction in the sculptures of the famous Ramappa temple near Warangal in Telangana. Performed by the warrior worshippers of Shiva, this dance belongs to the Tandava tradition - quick in tempo and depicting Veera Rasa.

He is credited with the revival of the Andhra Natyam dance form, a devotional temple dance tradition performed in Andhra Pradesh for over 400 years that became virtually extinct. It took him nearly 2 decades to revive some features of the Telugu devadasi dances. He called it Andhra Natyam to classify it as a dance form that originated in Andhra Pradesh. There are two ancient dance traditions in India, Natya Mela performed by men, and Nattuva Mela, which women perform. Andhra Natyam belongs to the Nattuva Mela tradition. Andhra Natyam, the ancient classical dance form of the Telugu regions (Telangana, Rayalaseema and Andhra), was almost extinct for the past 2000 years. It is as old as our ancient culture and the temples. It was performed in the Buddhist Aramas, temples, and royal courts by the cultured and dedicated female artists of Telugu regions. Andhra Natyam was formerly known with different names like Aradhana, Kacheri, Darbar, Kelika, Chinna Melam, Mejuvani, and Dasi Ata. Andhra Natyam was revived in 1970s and is being propagated for the last 50 years at national and international platforms, particularly in the Telugu speaking regions.

*
Jul 2021
The origin of the name Bharatanatyam came from 4 Sanskrit words. Divided in 4 sections, Bha-ra-ta-natyam. Each syllable represents a different word and meaning. Bha comes from Bhava, which means expression. Ra comes from Raga, which means melody. Ta comes from Tala, which means rhythm. Natyam mean dance. If you broke Bharatanatyam into four Sanskrit words it would read Bhava, Raga, Tala and Natyam. These aspects: expression; melody; and rhythm; are very important in Bharatanatyam.
Source: danceasia.org


*
Kathak, originally an ancient temple dance of North India, evolved as a dance greatly influenced by the social, religious and political backdrop over the years, representative of the prevailing society. Music and dance were an integral part of worship in the Vaishnava and Bhakti movements. Poetry of the time incorporated actual dance-syllables (bole) indicating that there was a strong interdependence between the works of Bhakti poets and the Kathak dancers. Hindu mythology and especially the exploits of Radha and Krishna were ideal sub­jects for music and dance; therefore, performing artistes were a part of religious ceremonies and social functions.
During the Mughal era, Kathak transformed from a temple dance into a court dance, patronized by the Mughal rulers. Islam, being intolerant of idolatry, the religious content gradually altered in order to suit the tastes of the patrons and the dance became sensuous in nature. It soon lost its religious flavour and changed into a medium of entertainment. In the process, it enriched itself and became a synthesis of Hindu and Muslim cultures. There was a greater stress on rhythmic footwork, fast pirouettes, and subtle intricate movements. Competitions between court dancers raised the level of accomplishment and dexterity of the dancers.  Towards the end of the colonial era, numerous cultural organizations and teaching institutes were functioning all over India. There were various stage performances and Kathak conferences in India and abroad. Western dance forms, especially ballet, had a significant influence on Kathak.
The main Gharanas (families) of Kathak are the Lucknow, Jaipur and Benaras Gharanas. Named after the cities in which they evolved they have their own distinctive styles.
Source: birjumaharaj-kalashram.com