BHARATHANATYAM

HISTORY : Bharathanatyam has special mention in two important Tamil works - SILAPPADIKARAM and MANIMEKHALAI of the SANGAM age. All the sculptures show the importance of the "ARDHAMANDALAI " (out_turned knees) which is the position common to Bharathanatyam as well as all the Indian Classical Dances from Rajasthan to Ghokarnam and Gujarat to Assam. The sculptures can be traced back to 5TH B.C.This is a dance form which cannot be adequately done by anyone without reverence for technique and for spiritual life.It lifts one from temporal to eternal values.

MOHINIYATTAM

The torchbearers of the present day form: Guru Kalamandalam Sathyabhama who was the Principal of Kerala Kalamandalam from 1957 _1993 deserves a standing ovation for her contribution towards revival and renaissance of this art form.The hair stylishly gathered on left side( as a bun) with white jasmine flowers is unique of Mohiniyattam.This style with simple white or offwhite saree with golden border and golden jewellery was accepted as the costume for this art form during the tutorship of Guru Sathyabhama. Another stalwart who is equally to be cherished as a torchbearer is none other than Guru Kalamandalam Kshemavathi who has been conferred a PADMASHRI this year.I am a proud student of her at present.Though the make up and costume is simple and realistic , there is an unusual emphasis on the eyes which are lined beautifully and made to look sensual.

KATHAKALI

Kathakali is a beautiful amalgam of DRAVIDIAN and ARYAN elements.As we all know Aryans arrived in Kerala during the commencement of the C.E. As history says where ever they settled they fought and imposed their supremacy over the indigenous people and pushed them to the lower strata.But fortunately the merge was not so bad in Kerala , and there seems to have been a more peaceful blending of these two diverse races. As far as Kathakali is concerned the outer appearance is that of Dravidian culture - the make up and costumes , the dance patterns , percussion instruments etc. The themes and sources of stories , the manner of artistic expression of emotions and the theory of Rasa (aesthetic sentiment) are adopted from Aryan culture. For example the name itself KATHA-Aryan , KALI-Dravidian.

MANIPURI

HISTORY : Maharaja Gambhir Singh (1825-1834 C.E) composed two parengs of the tandava type , the Goshtha Bhangi Pareng and the Goshtha Vrindavan Pareng. Maharaja Chandra Kirti Singh (1849-1886 C.E) composed at least 64 pung choloms (DRUM DANCES) and two parengs of the Lasya type , the Vrindaban Bhangi Pareng and Khrumba Bhangi Pareng.The composition of the Nitya Ras is also attributed to him.I happened to witness Manuri dance repertoire recently . The Pung choloms or DRUM DANCES are indeed a marvel to witness.The trained drummers dance to the beat in a very harmonious way and a lot of rigorous practise is required for the same to accomplish such a feat.If RASA LILA is slow and enchanting to watch the latter leaves us dumbstruck!

KATHAK

Bana Bhatta's HARSHACHARITA throws light on the existence of KATHAKAS who wandered village sabhas and temple courtyards telling stories {KATHAS} tastefully handpicked from mythology and adding colour to it with actions and expressions. By the 13th century a definite style had emerged. It was during the 15th and 16th century at the time of BHAKTI MOVEMENT, Rasalila had tremendous impact on KATHAK.During this period stories of RADHA -KRISHNA ,Srikrishan's exploits in the holy land of VRINDAVAN ,tales of KRISHNA LEELA {Krishan's childhood} all became very popular and the dance which was more spiritual started to acquire folk elements too.Following mythology and ancient scriptures we get to know that this dance took the form of "KATHKALAKSHEPAM" and "HARIKATHA" in Southern India and came to be known as "KATHAK" in the North.

ODISSI

HISTORY :Odissi dancers are found depicted in the hills of Udayagiri {near Bhubaneshwar} dating back to the 1st century B.C. Thus ODISSI being the oldest dance form there was a move to classify it as a separate classical system. As the traditional Odissi singers and musicians were very much influenced by the Hindustani concepts , they found it difficult to present the music in its original form.Had they succeeded in having ODISSI music declared to be a separate system , then it would be hard to justify calling it classical .It would have failed to achieve any level of ethnic transcendence that its enjoying today and would essentially be reduced to the level of "traditional" art form.

KUCHIPUDI

KUCHIPUDI : As we are aware , Siddhendra yogi the great saint of 14th century by incorporating the principles of Natyasasthra to the existing form of Yakshagana dance dramas had given it a new form.The outcome was a beautiful , elegant and distinct "KUCHIPUDI".The amalgamation of both folk and classical forms has been done with such dexterity that KUCHIPUDI has secured a special place amidst the other shining stars of the classical arena.KUCHIPUDI is not a mere dance form , but a combination of dance gestures , speech and song , hence a dancer has to be well versed in dancing , acting music etc.When they incorporate THARANGAM , the technique of balancing pot on head or use coloured powder on the feet to mark out a design on the floor , the dance takes one to a totally different world ! It was around 1930's the maestro Vedanta Lakshmi Narayana Sastry created ripples in the world of dance by introducing women dancers to Kuchipudi.Today KUCHIPUDI has metamorphosised to include both solo and group performances by both men and women.