KATHAK

GHARANA: The word GHARANA literally means HOUSE ...in HINDI ghar also means house.Here it actually implies the house of the teacher .We can conclude it takes us back to the GURU_SISHYA ( teacher_disciple) parampara (system) of the yesterdays with little modifications.Here the name of the gharana was almost derived from a geographical location , ezample city , district or state that the founder lived in. The gharana system commenced only 100_300 years back.The modern gharanas were easily traceable to the period of Mughal collapse.There were gharanas separately for vocal ,dance and instrumental music.In those days the name of the GHARANA and its glory was a prerequisite for obtaining a position in the royal courts.The gharanas had a certain standard which was being scrutinised by the royal courts .In the artistic sense it can be compared to to a certain style or "school" which was more popular or in demand. Later on the lack of royal patronage and the monotony of styles forced the 20th century artists who were more individualistic in their rendering of art put an end to the gharana system.Now it exists only in the vestigial system.

MANIPURI

MYTH AND ORIGIN: The movements of the body, feet and facial expressions in the Manipuri dance are extremely delicate and aspire to exhibit complete devotion and gracefulness. This is applicable only for the female dancers. On the other hand the performance by the male counterparts is fully charged with enthusiasm and vigour. Its usually accompanied with props like drum , sticks etc. More than the classical inclinatin it depicts more of ritual movements .

Contrary to other classical dance forms the origin of MANIPURI dance is shrouded in mystery. Hence many myths and legends have been associated with the same. The Manipuris consider themselves to be the descendants of the Gandharvas , who were the legendary musicians and dancers in the celestials court of the Gods(INDRA) .Thus this dnce form belongs to the valley people who call themselves METIES and trace their distant past to the vedic times.

KUCHIPUDI

Bhagavata Mela Natakam and KUCHIPUDI: Kuchipudi was initially trained to make the actors into BHAGAVATULU..ie performers of Bhagavatamela Natakams.

Present Scenario: Today a solo recital typically consists of such items as "SABDAM" , "BHAMAKALAPAM" (main item) "PADAMS' and "THARANGAMS". In Bhamakalapam the dancer has enormous scope for the dramatisation of characters.Sathyabhama is the main character who is a beautiful and arrogant queen who goes through the process of discovering the path of true LOVE and DEVOTION .Tharangam as I've already mentioned is more of dexterity and balancing feat where a pot filled with water is balanced on the head while balancing on the rim of a brass plate as the dancer moves around making a beautiful design in the process.

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!