Eternal India Encyclopedia

Eternal India

encyclopedia

D AN C E

Bhat of Hatiangadi of the 18th century and Vasudev. Prabhu San-

thayya and Bhima of the 19th century are valued as great contribu-

tions to Yakshagana. Today over a hundred and fifty themes or

‘Prasangas’ are chosen for Yakshagana performances. Sri Se-

shagiri Kini of Bhramawar is a renowned Bhagavatar who has had

an illustrious career on the stage for over sixty years.

Like Kathakali, Yakshagana is rendered in night-long per-

formances with elaborate make-up and colourful costume design.

CHHAU

: The beautiful Chhau tradition Of dancing has evolved in

three regions in the east i.e., Bihar, West Bengal and Orissa. They

are known as Serai Khella, Purulia, and Mayur Bhanj styles re-

spectively. They are presented during the ‘Chaitra Parva’ or spring

festival as a part of the puja to propitiate Nata Bhairava.

The dancers of Serai

Khella and Purulia wear

masks, and lay more em-

phasis on the perfection of

the movement. The Chhau

dancers of Mayur Bhanj do

not wear masks and are

known for their vigorous

movements

and

expres-

sions. They also lay em-

phasis on the control of

body

movements.

The

Chhau

dancers

undergo

rigorous training in basic

movements and Karanas,

Charis and martial arts.

Patronised by the rulers of

Mayur Bhanj, this style

has a variety of items

based on mythology and

puranas. Popular items are ‘Nataraja, ‘Jambadev’, ‘Hunter’, in

solo items and ‘Kailas Leela’, 'Garuda Bahvaa,’ ‘Tambudin

Krishna and ‘Dhwaj Taal’ in group dances. Sangeet Natak

Akademi has launched a total care programme under its project of

support to Chhau dances.. A comprehensive survey of about 30

villages in Mayurbhanj district was undertaken to identify Gurus

and young talents.

SATRIA DANCE OF ASSAM

: The Vaishnava monasteries

founded by Shri Shanker Dev have preserved a devotional dance

form known as Satria Dance or Satri Dance. Jumuna, ‘Shali’ and

‘Ras’ are some of the dances performed by the members of these

satras (monasteries). The Jumuna is a type of dance with gestures

and movements which are taught to the young inmates of the satra,

who have dedicated their lives to the Lord.

The other styles of dance prevalent in Assam are the Ojapal

dances performed on the occasion of the worship of the serpent

Goddess Manasa. The nati-style temple dance is performed by

Devadasis. The Kamalbari satra has preserved a variety of satria

dances like Ojapali and Chali based on Vaishnava culture.

MAACH OF MADHYA PRADESH

: Maach is a popular folk

theatre largely practised in the Malwa region of Madhya Pradesh

over the past two hundred years and is akin to Khyal of Rajasthan

and Nautanki of Uttar Pradesh, in its musical focus, though

textually and metrically quite different. Maach was given its

present form by Guru Shri Gopalji who migrated to Malwa from

Rajasthan and composed the lyrics and dialogues in the local Malwi

dialect.

The Dhol has a prominent place in Maach as an accompanying

instrument and is played along with the Naqqara. Rhythm plays an

important part both in the lines recited and sung by the actors.

Much of the dialogue is in verse. Dance too has an important role in

Maach.

THERUKOOTHU OF TAMIL NADU

: Therukoothu, which

literally means street theatre, is a popular form of folk theatre from

Tamil Nadu. It is performed throughout the night at the temples,

generally between March and July every year. Combining spoken

word, song and dance, the artistes enact episodes from Ma-

habharata and mythology. Tall headgears, breast shields and

stylized make-up characterize a Therukoothu performance. In-

struments like the mridangam, mukhaveena and cymbals are used

as accompaniments.

FOLK DANCES

"Dance is and gives ecstasy" is the basic motif of the dances

of the people living in the hills, dales and forests of our country.

Folk dances are spontaneous expressions of joy in celebration of

the milestones in their lives like births, marriages and harvest.

Every village has its own lore and festivals, its own customs and

manners, its own system of music and dance.

The dances can be classified as occupational, seasonal, mar-

tial, devotional and ritualistic.

The movements are largely influenced by nature which plays a

dominant role in portraying the regional character of folk dances.

For instance the beauty of the serene Himalayan range finds

expression in the swaying formation of the

Rouf

of Kashmir,

Nati

of Himachal and

Kumayuni

dances of Uttar Pradesh.

The

Dhuria

dance of the Madhya Pradesh tribals depicts

through group movements the sowing of paddy, scaring away the

birds from damaging crops etc.

Ritualistic varieties like

Karaga

and

Kavadi

of Karnataka and

Tamil Nadu,

Nandi Dhwaja, Patakunitha

of Karnataka and Bhavai of

Rajasthan and Gujarat are very popular. Martial dances like

Thangta

of Manipur,

Velakali

and

Kalari

of Kerala and

Paik

Orissa are some of the interesting and exciting varieties. So also

the

Huttaris

of Coorg.

Amongst the tribals of Bihar, Orissa and Madhya Pradesh, the

seasonal dances are performed in tune with Nature's manifesta-

tions.

For instance, amongst the

Oraons,

the

Jadur

of Bihar is per-

formed on the threshold of summer,

Karma

during the rains and

Baroya

during the autumn.

The

Bihu

of Assam and

Bhangra

of Punjab reverberate with

the spirit of the

Baisakhi

(New Year according to the Indian calen-

dar) in vigorous movements.

Suggi Kunitha

of Karnataka, espe-

cially the one performed by

Halakki Vokkaligas,

is an eloquent

instance of reflecting Nature's bounty in colour.

A unique dance of the season is seen in

Thabal Chongbi

Manipur. As the name signifies "dancing in moonlight", it is an

occasion for the young people to choose life partners while weaving

intricate patterns in dance.