MOHINIYATTAM

Mohiniyattam known as the dance of the celestial female , since it has an extremely slow seductive quality. It is essentially a solo dance performed by women ,and now-a-days it is also performed in groups. The basis of this dance is not seductiion alone , it also signifies the transformation of Lord Vishnu into a female form and also the concept of ARDHANAREESHWARA ie. male and female as one.Mohiniyattam signifies the dance of the enchantress that causes destruction of the wicked and brings delight and pleasure to the good.This dance form draws upon secular and social themes rather than religious themes.Most of the themes of Mohiniyattam are dealt with love , union and failure , of men and women.

KATHAKALI

In old days , Kathakali was presented in the temple precints after dusk falls. Kathakali is heralded by the kelikottu or the beating of drums in accompaniment of the chengila{gong}. The richness of a happy blending of colour , expressions , music, drama and dance is unparallaled in any other art form.Now a days it is performed on stage world over for the convenience of audience.

MODERN DANCE

Modern dance is a more relaxed , free style of dance , in which choreographers use emotions and moods to design their steps.It has a deliberate use of gravity , whereas ballet strives to be light and airy.It has also embraced Carribean influences along with African American contributiions.The essence of MODERN DANCE is to look forward , and not back.It is impossible to predict what directions MODERN DANCE will take in the future.Each style will go in so many different directions and are usually very radical. If this trend keeps up, future audiences can look forward to an interesting dance forum!!!

KATHAK

The 19th century saw the golden age of KATHAK under the patronage of Wajid Ali Shah , the last Nawab of Oudh.He established the LUCKNOW gharana with its strong accent on "BHAVA" , the expression of NATYA{moods} and ABHINAYA{emotions}. The Nawab himself used to dance taught by Durga Prasad. The JAIPUR gharana is known for LAYAKARI {rhythmic virtuosity with complex footwork} and it was born in the courts of KACHWAHA RAJPUT KINGS. The BANARAS gharana also was formed at the same time in the courts of VARANASI.

ODISSI

GITA GOVINDA is a lyrical poetry organised in 12 chapters. Each chapter into 24 divisions{prabhandas}. The PRABHANDAS contain COUPLETS grouped into eights called ASHTAPADIS {Ashta means EIGHT}.In this lyrical treatise, Saint Jideva has shown his mastery in music and dance along with his dauntless devotion to LORD VISHNU.It lends itself to be adapted to the different musical versions and dance performance.It is because of its religious fervour , that it was adapted by the temple dancers.JAIDEVA was instrumental in popularising DASAVATHARAM , the TEN incarantions of Lord Vishnu in another compositiion DASAKRITIKRITA. The classic "TRIBHANGI" {three-fold} posture of KRISHNA playing the flute gained popularity due to him.

KUCHIPUDI

Devadasi system was the most prevalent in Andhra Pradesh.Hence we shouldn't doubt about the deeprooted origin of KUCHIPUDI dance form too.As i've already mentioned , Devadasies became victims of feudal abuse . Buddhism and Jainism flourished later on.Jainism was propagated by the Chalukyas. They exploited this dance forms and liberally patronized both classical and Margi style. MARGI is a style that is supposed to follow the text { Natyasastra } in toto. MARGI can also be termed as the GUIDING FACTOR. As a big controversy lies between the margi and desi style let us just take NATYASASTRA as a great work in DRAMATOLOGY.The Devadasies were degenerated to Rajanartakies or court dancers.

BHARATA NATYAM

The Tanjore QUARTETS were well informed about SADIR , the dance form which was much popular in the temples and courts. They codified and systematized the dance and designed the MARGAM {solo repertoire} , standardized the body technique {Adavu} and made a syllabus for the dance.The term MARGAM means "The Way".In this context it can be construed as the route of a traditional Bharatanatyam dancer. In todays scenario , A Margam denotes PUSHPANJALI/ALARIPPU ,JATHISWARAM ,SHABDAM , VARNAM ,PADAM AND THILLANA.Most performances follow more or less the same scheme with little changes here and there.The torch bearers also composed a large music collection ,and translated the temple and court presentation for the modern stage. A solo Bharatanatyam repertoire unfolds gradually with a balanced representation of Nritta{rhythmic performance of combined Adavu} and Abhinaya{harmonic interpretation of the lyrics through mind and body expression}.