Kuchipuri Classical Dances of India Part 2

Kuchipudi -- The classical dance of Andhra & Telengana region

Kuchipudi developed as a religious art linked to traveling bards, temples and spiritual beliefs, like all major classical dances of India. Evidence of Kuchipudi's existence in an older version are found in copper inscriptions of the 10th century, and by the 15th century in texts such as the Machupalli Kaifat. aspect of the dance is thoroughly placed through variety of items such as Tillana, Kavuttam. It is both a solo and group performance. It originated in the Kuchipudi village situated in the Andhra Telengana region of India.

Artist: Esha Banerjee

Story of the Origin : It is said that there was once an orphan of Srikakulam who was raised by the village. These kinAfter a time he returned to Srikakulam. However, the village elders ordered him to go to his wife's house to assume his family responsibilities. On the journey he came upon a river. As he was swimming across the river he suddenly realised that he could swim no further. He then prayed to God to give him the strength to make it across. He did make it, and upon reaching the shore he vowed to become a sanyasi (renunciate) and devote his life to religious affairs.He then settled in the village of Kuchelapuram and started teaching. Here, he instructed Brahman boys in devotional dance dramas based upon religious themes. These religious plays were presented as offerings to God in the tradition of the Natya Shastra. Kuchipudi tradition believes that Tirtha Narayana Yati – a sanyassin of Advaita Vedanta persuasion and his disciple an orphan named Siddhendra Yogi founded and systematized the modern version of Kuchipudi in the 17th century.d people had him married at childhood as was the custom of the time. However, for his training he went to Udipi for Vedic studies. During his study he acquired the name Sidhendra Yogi.

Artist : Manju Warrior

Tradition of Kuchipuri : A Kuchipudi performance traditionally is a night performance when rural families return from their farms and are free of their daily work. The Kuchipudi performance is led by a conductor (chief musician) called the Sutradhara or Nattuvanar, who typically keeps the beat using cymbals and also recites the musical syllables; the conductor may also sing out the story or spiritual message being enacted, or this may be a role of a separate vocalist or occasionally the dancer-actors themselves. Mridangam, Ghatam, Flute etcs are used commonly. The songs are woven in South Indian Taal lipi. The songs are generally in praise of Gods and Godessess and Kings. It is thoroughly influenced by Natyashrastra. It was mainly performed by male dancers dressed like female in the temples of the Tellingana and Andhra region. Vedantam Lakshminarayana Sastri, Vempati Venkatanarayana Sastri and Chinta Venkataramayya. The nritya or expressive performance in Kuchipudi includes padams, varnams, shabdams and shlokas.

Artist : Malabika Sen

King's Patronage : India has always been the land of amazing culture. All the deccan dynasties have encouraged the nourishment of this dance form. Kucchipuri dancers have stood as a pillar for showing the true immage of the society to the society. At times the dancers could even wield political and social power. One example was a play-cum-social commentary performed in 1502. It seems that a group of artists performed before Immadi Narasa Nayaka. In this play, they indicated that the people were being unfairly treated by a local raja. The dancers succeeded in freeing the people form the abusive practices of the raja, but the artists at one point even required the protection of the army.

Dress & Ornamentation : Georgeous dress and brillant ornamentation is a custom for Kuchipuri performances. Traditionally men would dress up like women and perform on stage. The female dancers wear dazing sarees or fitted dress with pleats (fans). The jewelerray includes neck pieces, bangles, armlets, anklets, ghongroos, earrings, noserings, waistbelt. The vedic tradition of symbolisim is follwed. The dancer wear the SUN and the MOON on head. The hair is tied in a knot and then pleated in beads. Extensive hairdo is a specialization of this dance.

Noteable Dancers :Vedantam Lakshminarayana Sastri, Vempati Venkatanarayana Sastri, Chinta Venkataramayya,Sheela Unnikrishnan,Malabika Sen

Note : Drop your queries or suggestions at sangeetkalakendra@gmail.com
Visit our Facebook page : https://www.facebook.com/Sangeet-Kala-Kendra-1461430557205352/

Comments

Popular search

Angalakshana Part 1 - Anga Pratyanga & Upanga

The science of dance was extremely well developed in ancient India. The word Angalakshana refers to the way of moving the body parts. In order to understand the concept and to perform Angalakshana, one has to understand and practice the categorization of the human body. Types of Angalakshanam are written below. We will in-turn look at each of the Angalakshana in detail. Each and every student had to understand and practice this on a daily basis. Only after the mastering these, the Gurus would move towards teaching the students the dance numbers. Anga Pratyanga Upanga As per ancient Hindu practices, a human body or Sharera is taken as an inverted tree where the roots are at the top rather than at the bottom. Both Charaka Samhita and Sushrut Samhita (the first known book on medicines written by Sushrut around 400 BC) talks about dividing the human body into 3 main divisions viz. Anga, Upanga and Pratyanga. Charaka also proved the co relation of spirituality and physical health c

Hasta Mudra (Hand Gestures) Part 3 - Deva Hasta

Deva Mudras are an integral part of learning Indian Classical dance. These mudras are taught at a very early age to the students in order to achieve fluency. Abhinayadarpana talks about deva hastas. These hastas are not only used in depicting Gods and Goddessess during a play or dance, it is also used for sculptures of these deities. Natyashastra talks about how to decorate the stage. Bharata also talks about which corner/ side of stage belongs to which God. This concept is extensively used in Vastu Shastra and Agama Shastra. These are called Deva Hastas and AshtaDikpal Hastas. Sl No. Deity Right Left 1. Bhrama Hamsasya (Chest Level) Chaturam (Facing Upward, chest level) 2. Vishnu Tripataka at waist level Tripataka at waist level 3. Shiva Tripataka (at the side of the ear) Simhamukham ((at the side of the ear) 4.

Natya Shasatra _Slokas

Artist : Shilpi Nandi "The joy of dance can not be explained or taught. It has to be experienced." Following are the first few slokas of Natya Shastra. Pranamya Shirasa Devou Pithamaha Maheswarou Natyashastram Pravaksyami Brahamanaya Duthahrutham I bow my head to Pitamaha (Brahma – the creator) and Maheswara(Lord Siva – the creator of dance) and reveal the science of dance, drama and music (Natyasastra) as it was taught to me by Lord Brahma. (Bharata Muni states) Devadanaam Shirasthasthu Gurunamasya samsthithaha Vakshasthaschaiva vipranaam Sheshethwa niyamo bhaved I seek blesssings and offer prayers( with Anjali hasta ) hands placed above the head for the Gods, at the forehead for the Guru’s, in front of the chest for all the elders and for all others there is no special rules. This is the basic rule for all the Indian classical dance forms of India and is commonly followed in the entire south east Asia. Vishnu shakthi samuthpannae

Hasta Mudra (Hand Gestures) Part 12 - Jaati Hasta or Varna Hastas

Since Pre - historic times, Indian society had a complex, inter- dependent and co operative political economy where each individual had a specific role to play in uplifting the society and human welfare. The caste system in ancient India was followed with precise order and instructions. One can go on and on about the intricacies of the Caste System in India. Many research in modern times have been conducted on the caste systems. For centuries, caste dictated each and every aspect of Hindu life with each group occupying a specific place in the complex hierarchy. Earliest mention of the caste system in ancient India can be found in Manusanhita (1000 years before Christ), a book written by King Manu who ruled South India and have said to migrated to North India. Jaati Hastas are very common in Indian classical dance compositions. While composing a dance drama it becomes very important to depict the characters with the help of these Hastas. These hastas in co ordination of the body

Angalakshana Part 3 - Dhristi Bhedam or Eye Movements and Bhrukuti Bheda or Eye Brow Movement

Drishthi in Sanskrit literary meaning “Vision”. In relation to our eyes it means “sight” or “to see”. The classification of these eye movements are based on how we move the eye balls. In fact we use each of them in our every day routine. Just a matter of identifying with their names. There are eight types of Eye movements given in Natyashastras. 1. S ama : Eye kept still without any movement,Eveness of eye where the eyes are kept still. Usage : Depicting GOD,peace, pride 2. Alokita : Rolling your eye balls in a circular pattern. Usage : Showing fear. 3. Saachi : Looking through the corner of the eyes. Usage : Looking at rivals, competitors, showing shyness. 4. Pralokita : moving your eyes side to side. Usage : taking a peak on someone. 5. Nimilita : It looks like a half shut eye. Here one tries to focus the eye ball towards the heart. Usage : Meditation, sages, showing the meditative state of Gods, Peace 6. Ullokita : Looking upwards. Usage : Showing sky, God,

Hasta Mudra (Hand Gestures) Part 5 - Bandhava Hasta

Bandhava Hasta means the hand gestures that reflects the relationship. These are very important for dance compositions. These are also known as Bandhu Hastas. As per Abhinaya Darpana There are 11 Bandhava Hastas. They are as follow Dampati Hasta : It means married couples.This is denoted with Shikhara in left and Mrigashisya in right hand. Matru : Matru or mother is depicted by holding Ardhachandra in left hand near stomach(turned over) and Samdamsam in right hand. Pitru : Pitru or father is depicted by holding Ardhachandra held near stomach in the left hand and Shikhara in the right hand Sodra : Sodara means Brother. Elder brother is depicted by Myura is both the hands in front of the belly. Younger brother is shown by Mayura hands on both the sides. Putra : Putra or Son is depicted by Shikhara in left and Samdam in right held near the belly and then moved in a circular way. Snusha : Means Daughter -in - law and is depicted by showing Putra hasta and then Mrigashi

SangeetKalaKendraKolkata

Search This Blog