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Ottan Thullal is performed solo and because of its ready mass appeal, it is also known as the 'poor mans Kathakali'. Kunjan Nambiar evolved it and brought out the social conditions of this time, the distinctions of class and the weaknesses and whims of the rich and the great. The dialogue is in simple Malayalam and therefore ensures mass appeal.

Labels: Indian Dance form, Ottan Thullal

Odissi, is the traditional dance form of Orissa and ows its origin to the temple dances of the devadasis (temple dancers). Possibly, the oldest classical dance form in the country, Odissi has been mentioned in inscriptions, depicted on scultures, in temples like the Brahmeswara and the dancing hall of the Sun Temple at Konark. In the 1950s, the entire dance form was revitalised thanks to the Abhinaya Chandrika and sculpted dance poses found in temples.

While the form is curvaceous, concentrating on the tribhang or division of the body into three parts, head, bust and torso; the mudras and the expressions are similar to those of Bharatnatyam. Odissi performances are replete with lores of the philosophy of itss most popular diety, Lord Jagannath.

Odissi is based on the popular devotion to Lord Krishna and the verses of the Sanskrit play Geet Govinda are used to depict the love and devotion to God. The Odissi dancers use their head, bust and torso in soft flowing movements to express specific moods and emotions.

Labels: Indian Dance form, Odissi

Mohiniyattam is also the heir to Devadasi dance heritage like Bharatanatyam, kuchipudi and Odissi. The word "Mohini" literally means a maiden who exerts desire or the heart of the onlooker.

There is the well-known storry of Lord Vishnu taking on the guise of a 'mohini' to enthral people, both in connection with the churning of the milk-ocean and with the episode of the staying of Bhasmasura. Thus it is thought that Vaishnava devotees gave the name of Mohiniyattam of this dance form.

In format, this is similar to Bharatanatyam. The movements are gracefullike Odissi and the costumes sober and attractive. It is essentially a solo dance.

The first reference to Mohiniyattam is found in 'Vyavaharamala' composed by Mazhamangalam narayanan Nambudiri, assigned to the 16th century AD.

In the 19th century Swathy Tirunal, the king of erstwhile Travancore, did much to encourage and stabilize this art form. It was Poet Vallathol who again revived it a status in modern times through Kerala Kalamandalam Kalyaniamma, the first dance teacher of Kalamandalam, was instrumental in resuscitating.

Labels: Indian Dance form, Mohiniyattam

From the 15th to the 18th centuries, Vaishnavism came to be adopted in manipur and this ushered a new era in the development of this style. For manipuris, dance has been so inextricably women into their pattern of life.

The dance form is mostly ritualistic. It has still preserved the dance drama technique which draws heavily from the rich lore of legend and mythology. Costumes are colourful and the music has a quaint old-world charm. The numbers presented are Lai Haraoba and Rasa Leela. The former deals with the creation of the world and the latter is on krishna Leela.

Drums play an important part and the Poonang Cholom item is a must in any performance. The Kartar Cholom danced with cymbals is another exciting item.

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Labels: Indian Dance form, Manipuri

Kuchipudi is the dance drama of Andhra Pradesh. It is the corresponding style of the Bhagavata Mela Nataka or Tamil Nadu. Except that the emphasis is on the animation, the grammer is derived from the Natya Shastra and in all other aspects it is akin Bharata Natyam.

Tirtha Narayana and Siddendra Yogi evolved this style. Kuchelapuram in Andhra Pradesh was the birth place of this style. Hence the name Kuchipudi. It was a male prerogative. In recent years women have taken to it but it is mostlysolo dance that they perform. To this extent the concept has been watered down. Like Kathakali it used to be a week-long affair.

Vedantham Sathyanarayan is the doyen of this style and he has carved out a niche for himself in portraying hte role of the hungry, beautiful and vin-glorious Satyabhama. Vembhati China-Satyam, however, is the most popular guru today.

Labels: Indian Dance form, Kuchipudi

Intended for presentation on eight successive nights, Krishnanattom unfolds the entire story namely 'Avatharam', 'Kaliyamardhanam', 'Rasakreeda', 'Kamsavaddham'. 'Swayamvaram', 'Banayuddham', 'Vividha vadham', and 'Swargarohana' of Lord Krishna, the style is almost akin to Kathakali.

Labels: Indian Dance form, Krishnanattom

Labels: Indian Dance form, Koodiyattam, kudiyattam, kutiyattam

Kathakali is the most refined, the most scientific and elaborately defined dance from Kerala. As it is obtained today it is not more than 300 years old, but its roots can be traced back farther past.

It is a very exciting art form demanding not only complete control of practically every fibre of the artiste's body, but also intense sensitivity of emotion.The stories for attakathas (the verse text for a kathakali piece) are selected from epics and mythologies and are written in highly sanskritised verse form in malayalam.

The actor does not speak, but expresses himself through highly complicated and scientifically ordained mudras and steps, closely following the text being sung from the background of the stage.

The domain of kathakali is peopled by superhumans, Gods and Demones, and animals who are presented in a larger than life format. What strikes the spectator first and most is the splendour of the costumes, ornaments, and facial make-up which transform the actor-dancer into a type rather than a particular character.

A character can be identified by the colour he sports. A green-painted face stands for nobility, honour, valour and such higher qualities.Mythological heroes like the Pandavas, King Nala and divine personages like Krishna and Indra wear this make-up.

Labels: Indian Dance form, Kathakali

The word Kathak has its root in Katha or story. a band of story tellers who were attached to temples in North India, narrated stories from epics. Later, they added mime and gesture to their recitation.

The next stage in its evolution came in the 15th and 16th centuries AD with the popularisation of thr Radha-Krishna legend. With thr advent of the Muslim rule, it was taken out from temples to the courts. Jaipur, Lucknow and Benaras became the centres. While Jaipur gave predominance to pure dance with emphasis on rhythm, the Lucknow one drifted into erotics.

Benaras also stuck to pure dance but it provided for the sensuous aspect by delineating episodes from the Radha-Krishna legend. The parton king of the Lucknow style was Wajid Ali Shah who spent extravagantly on art. The place of women in kathak was of a different order . They were known as nachwalis who adorned the courts of the Mughals.

Apart from this, they were used for entertaintment of the pleasure seeking rulers and their fawning toadies. Evantually they came to be categorised as women of easy virtue. The Kathak dance goes through a regular format mostly concentrating on rhythm, variously called Tatkar, Paltas, Thoras, Amad and Pranas. Binda Din Maharaj, Kalkadin, Aachan Maharaj, Gopi Krishna and Birju Maharaj are but a few maestros in this line.

Labels: Indian Dance form, Kathak

This form is believed to have been introduced to kerala by the early Aryan immigrants and is performed only by the members of the Chakiarcaste. A highly orthodox type of entertaintment, it can be staged inside temples only and witnessed by the Hindus of the higher castes.The theatre is known as koothambalam.

The story is recited in a quasidramatic style with emphasis on eloquent declarations with appropriately suggestive facial expressions and hand gestures. The only accompaniments are the cymbals and the drum known as the mizhavu, made of copper with a narrow mouth on which is stretched a piece of parchment.

Labels: Chakiarkoothu, Indian Dance form

Crystallized in the castiron mould of Bharata's technique, this art form grossily disallows new-fangled innovations or gimmicks except in repertoire and forms of presentation.

Emerging far back in the labyrnthine twists of ancient history ( as information for the date conscious, 4000 B.C. is the ascribed date to the Natya Shastra), Bharatanatyam has been immortalized in successive generations, as much by the sinuous grace of great dancers as by the nimble the perfection of Bharata's technique in the following lines of temple sculptures.

Its present form was evolved by the Tanjore quartet namely poniah Pillai and brothers. Earlier variedly known as Dasi Attam and Sadir, it was practised by devadasis of the South Indian temples. It went into disrepute due to economic and social conditions and it was Rukmini Devi who gave it new life and respectability.

Labels: Bharatanatyam, Indian Dance form