HISTORY AND SURVIVAL OF INDIAN CLASSICAL DANCE

History And Survival of Indian classical Dance : 

In its truest sense, Indian classical dance is an expression of life, involving the body as well as the emotions. Indian Dance is based on texts from Sanskrit, an ancient Indian language – also thought to be the mother of not only Indian languages but also modern European languages. Indian classical dance is one of the oldest dance traditions associated with any of the world’s major religions. It has evolved with the concepts of self and world.

"When the world had become steeped in greed and desire, in jealousy and anger, in pleasure and pain, Bramha, the Supreme one was asked by the people to create an amusement which could be seen and heard by all, for the Scriptures being learned and ambiguous, were not enjoyed by the masses". Thus does Bharata's Natya Shastra explain the emergence of this divine art in his treatise on Indian Dance. Brahma, the Supreme one, the knower of truth, mediated on the four vedas (Scriptures) and drew up the fifth, Natya Veda, the scripture of drama, presenting moral and spiritual truth. "The creator of the world Brahma extracted 'recitation' from Rig Veda, `abhiyana' from Yajurveda, song from samaveda and 'rasas' from Atharvaveda respectively, for fulfilling the high requirements of life,that is Dharma , Artha, Kama and Moksha. Though these, fame, self-confidence, fortune and cleverness are acquired, thus causing peace, patience, liberality, pleasure, and wiping our misery, pain sorrow and hatred. Bramha tried to impart to the people the diversity and the all encompassing nature of this new creation and said that "This art is not purely for your pleasure but exhibits bhava (emotion) for all the three worlds. I have made this art following the movements of the world,
whether in work or in profit, peace, laughter, battle or slaughter, yielding the fruit of righteousness to those who follow, moral law,linked to the deeds of all manking, the best, the average and the low, affording excellent counsel, pastime and all else". And thus, "Brahma gave the first lessons on Natya to Bharata. Thereafter Bharata demonstrated the three forms of dancing , namely, Natya, Nritya and Nritta before the Lord Siva with the help of the Gandharvas and the Apsaras. Then Siva remembering his own violent style of dance asked Tandu to transmit its technique to Bharata with the help of his retinue and out of affection asked Parvati to demonstrate to him the Lasya Style. Then understanding the technique of Tandava the saints transmitted its knowledge to others. Similarly Parvathi taught the Lasya style to Usha, daughter of Bana. She transmitted it to the milkmaids of dwarka and then from them it spread to women of other places. This is the order in which these dance styles spread in the world".According to Abhinaya Darpana (mirror of gestures) the description of abhinaya is divided into four parts. 1. Angika Abhinaya is the abhinaya expressed through the limbs. Ideas and emotions are beautifully displayed through various parts of the body. This includes the actor's posture, gait and movements of features and limbs. "mudras" used by the priest in prayer became a whole language for the dancer known as "hastas", the symbols of the hands. 2. Aharya abhinaya is related to the costumes and make-up of the actor in his various roles. This is depicted through the costumes and other decorations of the body. 3. Vachika abhinaya is regarded as the most important among these four by some Hindu theorists. This indicates the use of language, regulation of the tone of voice, accent and rhythm which can bring out the lyrical qualities of the play. 4. Satwika abhinaya or abhinaya of the mind denotes the eight conditions, viz., stoppage of action, perspiration, horripilation, change of voice, trembling, change of colour, tears and fainting. These are to be exhibited with suitable gestures of Angika abhinaya as this is the expansion of mental emotions through bodily reactions. The dance or the four-fold abhinaya is of three kinds Natya, Nritta and Nritya. According to Bharata, Natya or Nataka gives the stories of the epics. Where there is no abhinaya or bhava it is termed nritta. Nritya is a combination of nine sentiments (Rasas) and bhavas.


Ancient Indian history reveals that even before BC , India's art forms of dance, music and theatre were fairly well-advanced. The performing arts, i.e. dance and music reached at its best of their glory, during the reign of the Chola dynasty in Southern India.
Dance forms were raised with a purpose in the sacred premises of temples. Temple dancing was inspired with the idea of taking art to the people, and conveying a message to the masses. The temple rituals necessitated the physical presence of mortal women (instead of the ornate, carved figures of heavenly damsels, apsaras) to regain the favour of the gods. The constituting view of dance, used for the purpose of the pleasing the devas, was gradually transformed into a regular, service (with deep religious connotations) in the temples of the medieval times. This was possibly the reason behind the origin of Devadasis , the earliest performers of the classical Indian dances. They were supposed to pursue the dance forms devotedly and excel in them. At the outset, Devadasis were respectable women and highly talented artists hailing from the highest position of the society. They lived and danced only in the temple premises – their vocation enjoying great religious prestige. It was only much later that the devadasis condescended to perform in royal courts, in the presence of the elite and the nobility.
  A devadasi not only performed on all festive occasions, but also had to be present for the daily rituals, connected with the deity. She was paid from temple funds; moreover the temple supplied the food grains for her and her family. To render a realistic touch a devadasi was ceremonially wedded to the deity. She was dedicated formally to her lord and thus out of bounds for mortals.
During those earlier times the temples compete eagerly with one another for pressing the best dancers and musicians into their services. Temple dancing was institutionalised and the dancing girls were liberally patronised by the kings, elites and mahajans (money-lenders). They were paid lifetime tributes by means of inscriptions engraved in the temples of those times. For instance, the famous temple of Belur ( in modern Karnataka) has several epithets glorifying the Hoysala queen Shantala who was an accomplished dancer and a musician herself. The walls of these temples are also adorned with images of this queen and her spouse, king Vishnuvardhana.

In all important Indian Literature dance holds an important place. The two great epics, Ramayana and Mahabharata are full of reference to the religious significance puranam, which speak of the use, meaning and purpose of spiritual identification and perfection. In the Vedic period people used dance for religious, social and ritual purposes. Like during horse sacrifice, weddings and many other important rituals. During the Buddist, Gupta and medieval periods, dance played and important role in achieving the spiritual inspiration and identification of the people of that time. The existing temple sculptures, paintings and icons are compelling proof , shedding light on the past. Later, with the invasion of the Muslim, who considered it almost a scandal to use music and dance for divine worship, dance found its way into the courts and as a form of entertainment. Also, due to the lack of interest in people with regard to their religion, many in society used dance for erotic pleasure. Thus, with the Muslim rule, there came into existence a new class of people called "Naach-wali". When the Europeans, for whom dance was mainly a social function, came to India, the degeneration of dance continued. With these developments, the aim, purpose and goal of dance apparently changed. It could be likened to a diamond which had lost its luster. However, the middle of the 20th Century saw a new renaissance in Indian Dance. It was due to the dedication of professional artists like Rukmini Devi, Krishna Iyer and others who strove to restore the lost dignity and spiritual quality of this divine art. Although today the Indian classical dance has moved from the temple to the auditorium and stage, the dedication of its performers remains the same. "Art emerges from the womb of religion and from the mystery of magic". This is very true in India, where religion and philosophy are preached and God worshipped through dance forms."Art in ancient India could perhaps be called temple art, not because it was necessarily part of the temple, but because its aim was the perception of spiritual identification".In India, the temple was been a place of communication between God and man. Different arts have sprung up form the temples and God was worshipped in music and dance. The desire of man for union with the Almighty led him to establish "in every temple a 'Rangamantapa', where music and dance performance took place as part of religious ritual". Dancing was considered to be the highest form of worship. Vishnudhamottara Puranam tells us that "to worship God by nritta (dance) is to fulfill all desire, and to him who dances, are protected from harms. The dancer, as he undergoes mystical experiences in the dance, communicates the same to the audience. In other words, dance becomes the expression of the experience of revelation and complete union with God, which leads us to believe that dance and all other fine arts have not only a effective function but also a spiritual and cultural function in India".

Indian dance is universal, has a way of unifying the energies and has immense therapeutical and theatrical values. There are no limitations of theme or content of the dance since it depicts the exploits of the gods, demons and kings as well as of ordinary human beings. Indian classical dance is inseparably bound with spirituality in its inception, growth, development, existence, purpose and goal. It is not just a performance but a Sadhana, as Tapas and a Bhakti. It commands devotion, and through and in it,one hopes to realize the divine in himself. Through dance the artist attains the divine and the glorious vision, that is Ananda (Bliss). The link between the various classical dance forms of India is the focus on the eternal yearning of the human soul (Jeevatma) to unite with the divine soul (Paramathma).

Evalutionary Nature: 

The extensive codification in the ancient treatises have been given to us by those wise writers along with the caution that if the performer does not interpret them according to their imagination and times, the art would become a dead art. This gives
ample freedom to the artist who wishes to practice these traditional art forms. Rather than confining him to follow the codified material with obstinate determination, they offer a structure within which the artist can explore their own creativity. Using the codified structure to his benefit, the artist can evolve his own style, thus not allowing the art to degenerate. Apart from this freedom which the treatises offer, the composers in Indian history have given us treasure house of compositions to be choreographed and the untiring performer can never tire the spectator.
 Traditional Indian dance has not remained the same through the centuries. Rather, it has evolved into something entirely different from what it was at its origin. The format of the recital has changed significantly. This evolution is one of the primary causes for the survival of our classical dancer forms.
                    The dilution in the quality of the technique is the cause of some concern. Although the dances have gained popularity during recent years, some of them are in danger of losing quality. The aesthetic enjoyment of the classical Indian dance is considerably hampered today by the gap between the dancer and the spectator.Even the accomplished dancer, in spite of his mastery of technique, may sometimes only be
partially initiated in the essential qualities of the dance form and its aesthetic significance.The majority are somewhat confused by a presentation which is obviously contextual and characterized by allusions but which derives from traditions to which they have ready access. Although they are aware that the dance is an invitation through its musical rhythms to the world in time and through its quality of sculpture to the world in space , which the character portrayed is living, they are unable to identify themselves with him.It would therefore be wise to question the future of Indian classical dance forms and analyze its survival in the years to come. I believe that if they have survived for the last three thousand years, although they may face new problems, they will be able to hold their own place because of the reasons discussed above.

ODISSI

                                                             ODISSI 

Odissi is one of the eight classical dance forms of India. It originates from the state of Odisha, in eastern India. It is the oldest surviving dance form of India on the basis of archaeological evidences. The classic treatise of Indian dance, Natya Shastra, refers to it as Odra-Magadhi. 1st century BCE bas-reliefs in the hills of Udaygiri (near Bhubaneshwar) testify to its antiquity. It was suppressed under the British Raj, but has been reconstructed since India gained independence.This is a lyrical dance style; it has rules of body motions completely different from other dance forms. Its main quality is elegance; its aesthetics is built on close connection of poetry and music. It is particularly distinguished from other classical Indian dance forms by the importance it places upon the Tribhangi (literally: three parts break), the independent movement of head, chest and pelvis and upon the basic square stance known as Chauka or Chouka that symbolises Lord Jagannath. This dance is characterised by various Bhangas (Stance), which involves stamping of the foot and striking various postures as seen in Indian sculptures. The common Bhangas are SamaBhanga,Abanga and Tribhanga.

The Odissi technique is based on chouka, a position when hands and legs are bent at right angles, with elbows and knees moved apart. It is a male position by its character; the body weight is distributed equally between both legs. You can see the same pose in the image of Jagannath in Puri temple; perhaps it reflects the balanced, overwhelming and universal nature of god Jagannath’s dharma. This is samabhanga or a balanced position. 

The second important position is abhanga when the body weight is shifted on one leg, the other leg is bent in a knee in a standing or semi-sitting position.

The Next position is Tribhanga, literally meaning three parts break, consists of three bends in the body; at the neck, waist and knee, hence the body is oppositely curved at waist and neck which gives it a gentle "S" shape and is considered the most graceful and sensual of the Odissi positions.This is the unbalanced figure which is not only hard to achieve but also requires of a dancer to have great self-restrain and self-control if she wants to execute it in a beautiful and nice way. There is something airy about it and unlike chouka it is very feminine. 

       Origin and History 

The history of Odissi dance has been traced to an early sculptures found in the Ranigumpha caves at Udaygiri (Odisha), dating to the 2nd century BCE. Odissi appears to be the oldest classical dance rooted in rituals and tradition. In fact, the Natya Shastra refers to Odra-Magadhi as one of the Vrittis and Odra refers to Odisha.

The first clear picture of Odissi dance is found in the Manchapuri cave in Udayagiri which was carved during the time of emperor Kharavela.  Emperor Kharavela was watching a dance recital where a damsel was performing a dance in front of the court along with the company of female instrumentalists. Thus, Odissi can be traced back to its origin as secular dance. Later it got attached with the temple culture of Odisha. Starting with the rituals of Jagannath temple in Puri it was regularly performed in Shaivite, Vaishnavite and Sakta temples in Odisha. An inscription is found where it was engraved that a Devadasi Karpursri’s attachment to Buddhist monastery, where she was performing along with her mother and grandmother. It proves that Odissi first originated as a court dance. Later, it was performed in all religious places of Jainism as well as Buddhist monasteries. Odissi was initially performed in the temples as a religious offering by the Maharis who dedicated their lives in the services of God. It has the closest resemblance with sculptures of the Indian temples.

                                          Tradition and Dance

There had been three types of dancers in Odissi tradition : Maharis in temples, Nachuni(Narthaki) at royal court and Gotipuas in akhadas (halls) who performed before public. 

Maharis were Oriya devadasis or temple girls, their name deriving from Maha (great) and Nari or Mahri (chosen) particularly those at the temple of Jagganath at Puri. Early Maharis performed mainly Nritta (pure dance) and Abhinaya (interpretation of poetry) based on Mantras and Slokas. Later, Maharis especially performed dance sequences based on the lyrics of Jayadev's Gita Govinda. 

By the 6th century, the Gotipua tradition was emerging. One of the reasons given for the emergence of Gotipuas is that Vaishnavas did not approve of dancing by women. Gotipuas were boys dressed up as girls and taught the dance by the Maharis. During this period, Vaishnava poets composed innumerable lyrics in Oriya dedicated to Radha and Krishna. Gotipuas danced to these compositions and gradually stepped out of the precincts of the temples.

Nartaki dance took place in the royal courts, where it was much cultivated before the British period. At that time the misuse of devadasis came under strong attack, so that Odissi dance withered in the temples and became unfashionable at court. Only the remnants of the Gotipua school remained, and the reconstruction of the style required an archaeological and anthropological effort that has tended to foster a conservative purism.

                                                            Odissi Music 

Odissi dance is accompanied by Odissi music, which is derived as Dhruvapada, Chitrapada, Chitrakala .The Dhruvapada is the first line or lines to be sung repeatedly. Chitrapada means the arrangement of words in an alliterative style. The use of art in music is called Chitrakala. Kavisurya Baladev Rath, the renowned Oriya poet wrote lyrics, which are the best examples of Chitrakala. All of these were combined to form the style that's peculiar to Odissi music.

A special feature of Odissi music is the padi which consists of words to be sung in Druta Tala (fast beat). Odissi music can be sung to different talas: Navatala (nine beats), Dashatala (ten beats) or Egartala (eleven beats). Odissi ragas are different from the ragas of Hindustani and Karnataki classical music. The primary Odissi ragas are Kalyana, Nata, Shree Gowda, Baradi, Panchama, Dhanashri, Karnata, Bhairavee and Shokabaradi.

Odissi music is sung through Raganga, Bhabanga and Natyanga Dhrubapadanga followed by Champu, Chhanda, Chautisa, Pallabi, Bhajan, Janana, and Gita Govinda, which are considered to be a part of the repertoire of Odissi or an allied act form of Odissi.

Odissi music has codified grammars, which are presented with specific Raagas. It has also a distinctive rendition style. It is lyrical in its movement with wave-like ornamentation. The pace of singing in Odissi is not very fast nor too slow, and it maintains a proportional tempo which is very soothing.

                                               Costume and Jewelry

The jewellery is made from intricate filigree silver jewellery pieces. Filigree, in French, means "thin wire", and in Oriya it is called Tarakasi. This highly skilled art form is more than 500 years old and is traditionally done by local artisans on the eastern shores of Odisha.The process of creating each piece takes the collaboration of many artisans each specialised in one step of the many that turns a lump of raw silver into a handcrafted work of art.

The jewellery pieces are an important part of the Odissi dancer’s costume. A dancer’s head is decorated with mathamani,ears with kapas, wrists with bahichudi or tayita, there is a belt of fine work on her waist; small bells strung on one small strap are ringing on her ankles; on her neck there is a padaka-tilaka a necklace with a locket.Besides, Odissi dancers erect themselves a quite complex hair bun decorated with tahiya, a miniature portrayal of temple gopura (tower); garlands of flowers are entwined into hair. Besides a standard make-up that performers of classic dance use, an Odissi dancer applies gorachan on her brows, a line that is drawn along a brow down to a cheek-bone with chandan (sandal paste). And finally, red liquid alta is sprayed on palms and feet.

                                                        

The Saree worn by Odissi dancers are generally coloured with bright shades of orange, purple, red or green. These sarees are characterised by features of traditional prints of Odisha, special borders, intricate designs and a shiny embellishment. This costume is drapped around the body in unique traditional way unlike other classical dance forms of India. Sambalpuri Saree and Bomkai Saree are preferred in Odissi dance over other type of Sarees. "Stitched costumes" are popular with the younger generation for its convenience and is composed of five pieces, that includes angrakha, blouse, pyjama, etc. These costumes are created by making use of the Sambalpuri and Bomkai saree materials.