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Classic East Indian Dance. India. Social, economic, and political factors along with the geography of the subcontinent have played an important part in history of Indian dance. - PowerPoint PPT Presentation

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Page 1: Classic East Indian Dance

Classic East Indian Classic East Indian DanceDance

Page 2: Classic East Indian Dance

IndiaIndia

Social, economic, and political factors along with Social, economic, and political factors along with the geography of the subcontinent have played the geography of the subcontinent have played an important part in history of Indian dance. an important part in history of Indian dance.

Indian subcontinent extends southward from the Indian subcontinent extends southward from the Himalayas to the Indian Ocean; it is bounded on Himalayas to the Indian Ocean; it is bounded on the west by the Arabian Sea and on the east by the west by the Arabian Sea and on the east by the Bay of Bengal. Eastward and northward lie the Bay of Bengal. Eastward and northward lie sea routes to Indochina and to China.sea routes to Indochina and to China.

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Dance and Cultural HistoryDance and Cultural History

Aryan people began entering the Indian subcontinent Aryan people began entering the Indian subcontinent around the second millennium BCE and came from around the second millennium BCE and came from Central Asia.Central Asia.

They encountered both city and forest dwellers. They encountered both city and forest dwellers.

They were nomadic herdsman, priests, and warriors with They were nomadic herdsman, priests, and warriors with a complex literary and ritual culture.a complex literary and ritual culture.

Religion and other major facets of the civilization of the Religion and other major facets of the civilization of the invaders spread gradually throughout India.invaders spread gradually throughout India.

Page 4: Classic East Indian Dance

Dance and Cultural HistoryDance and Cultural History The Aryan’s succeeded in uniting many ethnic and linguistic groups The Aryan’s succeeded in uniting many ethnic and linguistic groups

under an integrated culture.under an integrated culture.

The documented dance and theater history of India begins at least The documented dance and theater history of India begins at least as early as the first centuries of the Christian era. as early as the first centuries of the Christian era.

Indian dance is often claimed to the period of Vedas, the sacred Indian dance is often claimed to the period of Vedas, the sacred scriptures of Hinduism. scriptures of Hinduism.

Historical evidence suggests Indian dance really begins with the Historical evidence suggests Indian dance really begins with the final compilation of Natyasastra of Bharata, a treatise probably final compilation of Natyasastra of Bharata, a treatise probably composed between the second and fourth centuries CE. composed between the second and fourth centuries CE.

The Bharata’s Natyashastra is the most important source for The Bharata’s Natyashastra is the most important source for establishing the characteristics of Indian drama. (natya means establishing the characteristics of Indian drama. (natya means drama or theatre, shastra means text)drama or theatre, shastra means text)

Page 5: Classic East Indian Dance

Classical DanceClassical Dance

In India, most all classical dances evolved In India, most all classical dances evolved as a temple art. Dance was one of the as a temple art. Dance was one of the mediums of worship. The dancer mediums of worship. The dancer performed facing the idol of the God. Thus performed facing the idol of the God. Thus the reason Indian classical dance is the reason Indian classical dance is primarily a solo based art. It is only now primarily a solo based art. It is only now that ballets or group dances are popular. that ballets or group dances are popular. But still, true classical Indian dance But still, true classical Indian dance remains as a solo performing art.remains as a solo performing art.

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Bharata NatyamBharata Natyam

Solo dance tradition of female temple dancers Solo dance tradition of female temple dancers ((devadasisdevadasis) of the state of Tamil Nadu in South ) of the state of Tamil Nadu in South India.India.

Was performed mainly in the temples of the god Was performed mainly in the temples of the god Siva in Tamil Nadu.Siva in Tamil Nadu.

Genre evolved between the 13Genre evolved between the 13 thth and 15 and 15thth centuries when Muslim invaders destroyed the centuries when Muslim invaders destroyed the temples of North India.temples of North India.

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Bharata NatyamBharata Natyam

It attained it’s present form in the first quarter of It attained it’s present form in the first quarter of the 19the 19thth century. century.

Four famous brothers, authorities on dance and Four famous brothers, authorities on dance and music who served in the court of King Sarfoji II music who served in the court of King Sarfoji II gave this style its present format and repertory gave this style its present format and repertory and also codified it.and also codified it.

Within the scope of bharata natyam are all three Within the scope of bharata natyam are all three aspects of Indian dance, aspects of Indian dance, nrtta, nrtya, and natya.nrtta, nrtya, and natya.

Page 8: Classic East Indian Dance

NrttaNrtta Nrtta, or pure dance, is the expression of rhythmic

movement primarily through use of the hands and feet often in specific poses.

These movements are not designed to convey any These movements are not designed to convey any particular meaning, emotion, or theme. Their purpose is particular meaning, emotion, or theme. Their purpose is to create a collage of rhythmic lines, forms and shapes to create a collage of rhythmic lines, forms and shapes for the sake of their own art - to share the beauty of the for the sake of their own art - to share the beauty of the abstract form. abstract form.

The draw to the dance lies in the exactness of the The draw to the dance lies in the exactness of the interpretation of instruments through the mastery of the interpretation of instruments through the mastery of the footwork and coordination with that of the hand and footwork and coordination with that of the hand and body.body.

Page 9: Classic East Indian Dance

NrttaNrtta NrttaNrtta helps in improving dancer's stamina and his skill helps in improving dancer's stamina and his skill

over rhythm. over rhythm.

Both Indian music and dance are based on the concept Both Indian music and dance are based on the concept of of talatala (cyclic rhythm characterized by the number of (cyclic rhythm characterized by the number of beats). beats).

The simplest manner in which to explain this is by way of The simplest manner in which to explain this is by way of time. Time is divided into units (minutes) and then into time. Time is divided into units (minutes) and then into sub-units (seconds). Similarly tala can be divided into a sub-units (seconds). Similarly tala can be divided into a units and sub-units. There are various types of units and sub-units. There are various types of talatala and and the total number of units contained usually distinguishes the total number of units contained usually distinguishes them from one another.them from one another.

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NrttaNrtta

Rhythmic patterns of the hands and feet are interwoven Rhythmic patterns of the hands and feet are interwoven with the notes of the musical instruments. with the notes of the musical instruments.

While a dancer executes these movements, he has to While a dancer executes these movements, he has to keep a precise balance between the two elements, keep a precise balance between the two elements, vigorous and the gentle. vigorous and the gentle.

For example, in most Indian classical dance styles, For example, in most Indian classical dance styles, stamping of the feet is a common feature. A set of stamping of the feet is a common feature. A set of stamps should consist of both hard and soft ones. An stamps should consist of both hard and soft ones. An imbalance in them will result in the movements looking imbalance in them will result in the movements looking either too harsh or too lifeless.either too harsh or too lifeless.

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NrtyaNrtyaInterpretive DanceInterpretive Dance

This form uses gestures and facial expressions to show This form uses gestures and facial expressions to show the poetic or emotional meaning while combining the poetic or emotional meaning while combining rhythmic gaits and postures. rhythmic gaits and postures.

Here, the systematic gesture language occupies an Here, the systematic gesture language occupies an important place. It is just like the language used by the important place. It is just like the language used by the hearing impaired, with the exception that it is more hearing impaired, with the exception that it is more stylized. stylized.

The actor in ancient Indian theatre had to be well versed The actor in ancient Indian theatre had to be well versed in the form of dance, therefore it is quite natural that he in the form of dance, therefore it is quite natural that he must have a mastery over the gesture language.must have a mastery over the gesture language.

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NrtyaNrtya One of the most important records of Indian Dance is the 12th One of the most important records of Indian Dance is the 12th

century treatise called the century treatise called the Abhinaya DarpanaAbhinaya Darpana which refers to the which refers to the mirror of gestures. mirror of gestures.

It lays down single and double-handed gestures used for showing It lays down single and double-handed gestures used for showing objects, actions, emotions, standing and sitting postures, leaps, objects, actions, emotions, standing and sitting postures, leaps, jumps and gaits. jumps and gaits.

When it comes to improvised choreography, Nrtya occupies an When it comes to improvised choreography, Nrtya occupies an important place. To illustrate, if the dancer is dancing a love song, important place. To illustrate, if the dancer is dancing a love song, he is expected to explain the literal meaning of those lyrics and he is expected to explain the literal meaning of those lyrics and therein lies the real test of imagination i.e. spinning out a story and therein lies the real test of imagination i.e. spinning out a story and making the audience see various shades of emotion through his making the audience see various shades of emotion through his story.story.

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NatayaNataya

Pure story telling, stressing the dramatic Pure story telling, stressing the dramatic aspect of the dance.aspect of the dance.

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Bharata NatyamBharata Natyam The sequence of performance is harmoniously The sequence of performance is harmoniously

balanced among the three aspects.balanced among the three aspects.

Invocation (Invocation (alarippu), alarippu), rhythmic pattern rhythmic pattern ((jatisvaram) jatisvaram) fall into the category of nrtta.fall into the category of nrtta.

sabdam sabdam intersperses rhythmic sections with intersperses rhythmic sections with phrases that praise and describe a kind or deity, phrases that praise and describe a kind or deity, and and varnam varnam the longest most complex segment, the longest most complex segment, constitute constitute nrtya. nrtya. The The varnum varnum is a song is a song addressed to a god or hero.addressed to a god or hero.

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Bharata NatyamBharata Natyam The second half of the program presents the The second half of the program presents the natyanatya category. category.

padam: padam: love lyric usually erotic in mood, portraying emotions as love lyric usually erotic in mood, portraying emotions as hope, despair, jealousy, anger, and ecstasy.hope, despair, jealousy, anger, and ecstasy.

javali: javali: same genre but lighter in nature and both melody and rhythm same genre but lighter in nature and both melody and rhythm are lighter.are lighter.

krithis: krithis: devotional and glorify a deity, as dodevotional and glorify a deity, as do slokams. slokams.

The concluding number, the The concluding number, the tillanatillana, a cascade of pure rhythm, , a cascade of pure rhythm, displays the dancer’s mastery of the rhythmic aspect.displays the dancer’s mastery of the rhythmic aspect.

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Bharata Natyam Training MethodsBharata Natyam Training Methods

A student begins training with the practice of basic dance A student begins training with the practice of basic dance units (units (adavus)adavus) which range from eighty to one hundred. which range from eighty to one hundred.

These are steps for the feet combined with hand These are steps for the feet combined with hand gestures gestures (mudras),(mudras), with the addition of head with the addition of head (shiro (shiro bheda), bheda), eye eye (drishthi bheda) (drishthi bheda) and neck movements and neck movements (greeva bheda).(greeva bheda).

The lines of the body are very important to the dance The lines of the body are very important to the dance and have a noble, geometrical angularity combined with and have a noble, geometrical angularity combined with well balanced symmetry. well balanced symmetry.

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Basic StanceBasic Stance Body is lowered, knees bent and turned out Body is lowered, knees bent and turned out

widely and the heels come close together, with widely and the heels come close together, with the feet pointed outward. the feet pointed outward.

The arms are stretched to the side and in certain The arms are stretched to the side and in certain movements the body is curved.movements the body is curved.

The torso can be held erect or slightly inclined.The torso can be held erect or slightly inclined.

The footwork is forceful and requires hard and The footwork is forceful and requires hard and exact contact with the floor.exact contact with the floor.

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Hand GesturesHand GesturesHastas or MudrasHastas or Mudras

The symbolic hand gestures are taken The symbolic hand gestures are taken from the second century text The Mirror of from the second century text The Mirror of Gestures (Gestures (Abhinaya-darpana) Abhinaya-darpana) and are and are called called hastas or mudrashastas or mudras..

There are 28 one handed There are 28 one handed hastashastas and 23 and 23 two handed two handed hastas.hastas.

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MusicMusic

The literary content of the songs is danced from songs in The literary content of the songs is danced from songs in classical Sanskrit or from modern southern Indian classical Sanskrit or from modern southern Indian languages.languages.

Some of the composers are anonymous, but several Some of the composers are anonymous, but several songs are compositions of the saint composers of songs are compositions of the saint composers of southern India.southern India.

The songs are set to the classical southern Indian The songs are set to the classical southern Indian Karnatic mode and are performed by and ensemble of Karnatic mode and are performed by and ensemble of musicians conducted by a guru (musicians conducted by a guru (nattuavanar). nattuavanar).

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MusicMusic

The guru sets the rhythm with a pair of The guru sets the rhythm with a pair of cymbals and chants or recites the rhythmic cymbals and chants or recites the rhythmic passages.passages.

In addition to a singer and a percussionist In addition to a singer and a percussionist there may be one or more instrumentalists there may be one or more instrumentalists playing a stringed instrument (playing a stringed instrument (vina), vina), flute, flute, or violin.or violin.

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CostumesCostumes In the past, the costumes were saris draped over a pair In the past, the costumes were saris draped over a pair

of pajamas or pantaloons, with one end passed between of pajamas or pantaloons, with one end passed between the legs and tucked into the waist. the legs and tucked into the waist.

The modern costume is more tailored with close fitting The modern costume is more tailored with close fitting pantaloons. pantaloons.

A decorative pleated fan in the front is joined to the legs, A decorative pleated fan in the front is joined to the legs, and a blouse with a veil draped over it covers the torso.and a blouse with a veil draped over it covers the torso.

Costumes are made of silk and jewels and adorn the Costumes are made of silk and jewels and adorn the dancer from head to toe. Bells are worn around the dancer from head to toe. Bells are worn around the ankles and are an essential part of the performance.ankles and are an essential part of the performance.

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Journal Reflection #1Journal Reflection #1Classical Indian DanceClassical Indian Dance

What connection to classical Indian dance What connection to classical Indian dance mudras (hand gestures) mudras (hand gestures) can you make to can you make to hand gestures in American culture?hand gestures in American culture?

What are the similarities of classical Indian What are the similarities of classical Indian dance to other dance forms you have dance to other dance forms you have studied?studied?

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Classic East Indian DanceClassic East Indian DanceDay 2Day 2

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Epic Sources of Indian DanceEpic Sources of Indian Dance

The legends that form the basis of many The legends that form the basis of many dances of India are found in two great dances of India are found in two great epics, the epics, the Mahabharata Mahabharata and and RamayanaRamayana..

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Mahabharata (Dance Drama)Mahabharata (Dance Drama) Longest epic poem in any language consisting of 90,000 verses Longest epic poem in any language consisting of 90,000 verses

arranged in 18 sections (parvans).arranged in 18 sections (parvans).

Credited to sage VyasaCredited to sage Vyasa

Story: Elephant-headed diety, Ganapati wrote it down as Vyasa Story: Elephant-headed diety, Ganapati wrote it down as Vyasa dictated.dictated.

Main story takes place in North India and concerns the great war Main story takes place in North India and concerns the great war between Pandavas and their cousins (the Kauravas).between Pandavas and their cousins (the Kauravas).

Relates strife of Dhrtarastra (Kaurvas family). Dhrtarastra was Relates strife of Dhrtarastra (Kaurvas family). Dhrtarastra was supposed to be crowned king, but because he was blind this was supposed to be crowned king, but because he was blind this was deemed unacceptable, so his brother Pandu was crowned.deemed unacceptable, so his brother Pandu was crowned.

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Mahabharata (Dance Drama)Mahabharata (Dance Drama)

Pandu renounced the crown and retired to the forest. Pandu renounced the crown and retired to the forest. Dhrtarastra took over because Pandu’s sons (Pandavas Dhrtarastra took over because Pandu’s sons (Pandavas family) were children. Pandu’s sons were taken to the family) were children. Pandu’s sons were taken to the capital and educated along side Dhrtarastra’s 100 sons. capital and educated along side Dhrtarastra’s 100 sons. When Pandu’s eldest son reached majority he was When Pandu’s eldest son reached majority he was legally entitled to the thrown. Dhrtarstra’s eldest son legally entitled to the thrown. Dhrtarstra’s eldest son (Duryondhana) coveted the thrown for himself. The sons (Duryondhana) coveted the thrown for himself. The sons of Dhrtarastra formulated plots against the lives of their of Dhrtarastra formulated plots against the lives of their cousins. The plots failed and the Pandavas left the cousins. The plots failed and the Pandavas left the capital and wandered from court to court where they met capital and wandered from court to court where they met Krishna; who was their uncle and loyal friend.Krishna; who was their uncle and loyal friend.

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Mahabharata (Dance Drama)Mahabharata (Dance Drama)

Dhrtarstra eventually gave up the thrown Dhrtarstra eventually gave up the thrown and divided the kingdom between the and divided the kingdom between the cousins. This angered his eldest son cousins. This angered his eldest son (Duryondhana) and he invited his cousin (Duryondhana) and he invited his cousin (Yudhisthira) to a gambling match where (Yudhisthira) to a gambling match where he won all of his possessions (including he won all of his possessions (including their joint wife Draupadi). their joint wife Draupadi).

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Mahabharata (Dance Drama)Mahabharata (Dance Drama)

As a compromise the Pandavas were to As a compromise the Pandavas were to go into exile for 13 years. When the deal go into exile for 13 years. When the deal was not kept, the Pandava’s prepared for was not kept, the Pandava’s prepared for war. After 18 days of battle only the war. After 18 days of battle only the Pandavas and Krishna remained alive Pandavas and Krishna remained alive leaving Yudhisthira the undisputed ruler. leaving Yudhisthira the undisputed ruler. He ruled for many peaceful years, then He ruled for many peaceful years, then passing the thrown to his grandson.passing the thrown to his grandson.

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RamayanaRamayana Consists of seven books (first and last thought to be later additions)Consists of seven books (first and last thought to be later additions)

Author thought to be the poet Valmiki.Author thought to be the poet Valmiki.

Story centers around the figure of Rama (son of King Dasaratha of Story centers around the figure of Rama (son of King Dasaratha of Kosala). An archery contest was held in the court of King Janaka Kosala). An archery contest was held in the court of King Janaka and Rama won the hand of the King’s daughter, Sita. When King and Rama won the hand of the King’s daughter, Sita. When King Dasarath gave up the thrown he named his son Rama as heir. One Dasarath gave up the thrown he named his son Rama as heir. One of the King’s wives (whom was promised a *boon years earlier by of the King’s wives (whom was promised a *boon years earlier by the king) *(A benefit bestowed, especially one bestowed in response the king) *(A benefit bestowed, especially one bestowed in response to a request.) demanded her son (Bharata) be named king instead to a request.) demanded her son (Bharata) be named king instead of Rama and requested Rama to be exiled from the kingdom. of Rama and requested Rama to be exiled from the kingdom. Rama went into exile to fulfill his father’s promise.Rama went into exile to fulfill his father’s promise.

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RamayanaRamayana

Rama’s brother (Laksmana) and his wife (Sita) Rama’s brother (Laksmana) and his wife (Sita) followed him into exile. Rama’s brother followed him into exile. Rama’s brother destroyed many demons who were trying to destroyed many demons who were trying to disrupt holy sacrifices in the forest. One day a disrupt holy sacrifices in the forest. One day a demon appeared before them as a beautiful demon appeared before them as a beautiful woman named Surpanakha (sister of Ravana, woman named Surpanakha (sister of Ravana, ruler of the demon kingdom). She attacked ruler of the demon kingdom). She attacked them and Laksmana severely wounded her. them and Laksmana severely wounded her. She left vowing vengeance. Ravana’s brother She left vowing vengeance. Ravana’s brother retaliated by kidnapping Sita. retaliated by kidnapping Sita.

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RamayanaRamayana

Rama was despondent until he met Rama was despondent until he met Sugriva (chieftain belonging to the monkey Sugriva (chieftain belonging to the monkey tribe) and Hanuman (a warrior). Sugriva tribe) and Hanuman (a warrior). Sugriva agreed to help search for Sita and sent his agreed to help search for Sita and sent his monkey army to find her. Hanuman found monkey army to find her. Hanuman found Sita in Ravana’s kingdom and was Sita in Ravana’s kingdom and was rescued. rescued.

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RamayanaRamayana Because Sita dwelt in another man’s kingdom, Because Sita dwelt in another man’s kingdom,

people started to doubt her purity. To prove her people started to doubt her purity. To prove her purity, Sita voluntarily entered the fire as test. purity, Sita voluntarily entered the fire as test. Agni, the god of fire, delivered her unharmed, Agni, the god of fire, delivered her unharmed, proving her innocence. They all returned back proving her innocence. They all returned back to the capital and Bharata returned the kingdom to the capital and Bharata returned the kingdom to Rama.to Rama.

Rama and Sita are seen as embodiments of Rama and Sita are seen as embodiments of virtue and Sita as the perfect Hindu wife (loyal virtue and Sita as the perfect Hindu wife (loyal and remains cheerful under all circumstances, and remains cheerful under all circumstances, wants nothing more to serve her lord). wants nothing more to serve her lord).

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RamayanaRamayana The story has great popularity in India as well as The story has great popularity in India as well as

parts of Southeast Asia. parts of Southeast Asia.

It has provided the theme for numerous Sanskrit It has provided the theme for numerous Sanskrit dramas, with variations. Other forms of dance dramas, with variations. Other forms of dance and drama also draw on the story for thematic and drama also draw on the story for thematic material.material.

Today more modern vernacular versions of the Today more modern vernacular versions of the story also appear in various regions of India and story also appear in various regions of India and Indonesia. Indonesia.

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Puranas (belonging to ancient Puranas (belonging to ancient times or ancient tale/legend)times or ancient tale/legend)

There are 18 Puranas, the ones considered There are 18 Puranas, the ones considered most important are as follows: Visnu Purana, most important are as follows: Visnu Purana, Bhagavata Purana, Agni Purana, Bhavisya Bhagavata Purana, Agni Purana, Bhavisya Purana, and Vayu Purana.Purana, and Vayu Purana.

Mythological material, instruction in ritual Mythological material, instruction in ritual observances and details of the legal code are observances and details of the legal code are contained in the Puranas.contained in the Puranas.

Dance and dance drama use the myths and Dance and dance drama use the myths and legends of Puranas as thematic material.legends of Puranas as thematic material.

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PuranasPuranas

Myths involving the god Visnu and Krishna are popular Myths involving the god Visnu and Krishna are popular figures used in dance and dance dramas.figures used in dance and dance dramas.

The principal sources for these myths are the Visnu The principal sources for these myths are the Visnu Purana and the Bhagavata Purana.Purana and the Bhagavata Purana.

The Visnu Purana appeared around the sixth century; The Visnu Purana appeared around the sixth century; stories of the Krishna are contained in its fifth book. stories of the Krishna are contained in its fifth book.

The Bhagavata Purana is believed to of been written in The Bhagavata Purana is believed to of been written in southern India around the ninth century. The story of southern India around the ninth century. The story of Krishna’s life is told in great detail in its tenth book.Krishna’s life is told in great detail in its tenth book.

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PuranasPuranas

The stories of Krishna provide an endless source of The stories of Krishna provide an endless source of material for interpretation and elaboration. material for interpretation and elaboration.

Relationship of Krishna with the gopis (followers of Relationship of Krishna with the gopis (followers of Krishna) has lent itself to mystical interpretation. The Krishna) has lent itself to mystical interpretation. The longing of the gopis to be united with Krishna is symbolic longing of the gopis to be united with Krishna is symbolic of the yearning of the human soul for union with the of the yearning of the human soul for union with the divine.divine.

Stories of Krishna are most prevalent in Dance Dramas Stories of Krishna are most prevalent in Dance Dramas

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Philosophy of Indian DancePhilosophy of Indian Dance All matter is composed of 5 elements: fire, All matter is composed of 5 elements: fire,

water, earth, space and skywater, earth, space and sky

Humans are a part of nature and do not Humans are a part of nature and do not dominate it, but instead exist with itdominate it, but instead exist with it

Continuity of life: no beginning or endContinuity of life: no beginning or end

Being human lies in the inner consciousness Being human lies in the inner consciousness (body, mind, and spirit) and is reflected in the (body, mind, and spirit) and is reflected in the cosmoscosmos

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Vedas (1500 BC)Vedas (1500 BC) Early Indian text/scripturesEarly Indian text/scriptures

Form oldest layers of Sanskrit literature and HinduismForm oldest layers of Sanskrit literature and Hinduism

Different sects developed in Indian subcontinentDifferent sects developed in Indian subcontinent

Religions that use the Vedas as their leading scripture are called Religions that use the Vedas as their leading scripture are called orthodoxorthodox

Religions such as Sikhisim, Buddihism and Janism don’t accept the Religions such as Sikhisim, Buddihism and Janism don’t accept the Vedas and are referred to as heterodoxVedas and are referred to as heterodox

Vedas include hymns, incantations, and rituals of ancient IndiaVedas include hymns, incantations, and rituals of ancient India

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Upanisads (800-400 BCE)Upanisads (800-400 BCE)

Philosophic texts, give concepts their theoretical Philosophic texts, give concepts their theoretical foundationfoundation

Elaborates on how the soul (Atman) can be united with Elaborates on how the soul (Atman) can be united with the ultimate truth (Brahaman) through contemplation, the ultimate truth (Brahaman) through contemplation, meditation, and doctrine of Karma (cumulative effect of meditation, and doctrine of Karma (cumulative effect of person’s actions)person’s actions)

Describes cosmos as hub and spokes of a wheelDescribes cosmos as hub and spokes of a wheel

Concept of yoga explained (gathering inward of all Concept of yoga explained (gathering inward of all energy, mental & physical) so revelation can take place energy, mental & physical) so revelation can take place

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Brahamanas (900-500 BCE)Brahamanas (900-500 BCE)

Commentaries of the Vedas, explains Vedic ritualsCommentaries of the Vedas, explains Vedic rituals

Very detailed explanation of how rituals are supposed to Very detailed explanation of how rituals are supposed to be performed and whybe performed and why

Each Brahamanas is associated with a VedasEach Brahamanas is associated with a Vedas

In Brahamanas cosmos is symbolized physically by In Brahamanas cosmos is symbolized physically by every sound, word, gesture, and object of ritualevery sound, word, gesture, and object of ritual

Ritual performance involved the whole communityRitual performance involved the whole community

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Brahamanas (900-500 BCE)Brahamanas (900-500 BCE) Example of ritual act: Example of ritual act: Yajana,Yajana, explains how to design a explains how to design a

consecrated space by establishing a center with in an enclosure and consecrated space by establishing a center with in an enclosure and lighting fires within each of the 3 alters. lighting fires within each of the 3 alters.

Alters in the shape of a circle, semi-circle, and square.Alters in the shape of a circle, semi-circle, and square.

Ritual acts symbolize sacrifice of the body which takes place over a Ritual acts symbolize sacrifice of the body which takes place over a prescribed amount of hours or days.prescribed amount of hours or days.

Purpose of yoga and yajana: achieve harmony, equilibrium, and Purpose of yoga and yajana: achieve harmony, equilibrium, and tranquility. Recognize human capacity of introspection and growth.tranquility. Recognize human capacity of introspection and growth.

Life and death are part of the same continuumLife and death are part of the same continuum

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Indian Theory of AestheticsIndian Theory of Aesthetics

First referred to in Bharata’s NatyasastraFirst referred to in Bharata’s Natyasastra

Purpose: to establish rules for artistic Purpose: to establish rules for artistic performance through which the audience performance through which the audience might achieve supreme joy or release from might achieve supreme joy or release from the world of illusion.the world of illusion.

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Indian Theory of AestheticsIndian Theory of Aesthetics

First referred to in Bharata’s NatyasastraFirst referred to in Bharata’s Natyasastra

Purpose: to establish rules for artistic Purpose: to establish rules for artistic performance through which the audience performance through which the audience might achieve supreme joy or release from might achieve supreme joy or release from the world of illusion.the world of illusion.

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Indian Theory of AestheticsIndian Theory of Aesthetics

Theory know as Rasa (religious or artistic Theory know as Rasa (religious or artistic essence) 3 part processessence) 3 part process

Vision of artistVision of artist

Content, form, and technique of artistic Content, form, and technique of artistic expressionexpression

Audience experiences joyAudience experiences joy

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Indian Theory of AestheticsIndian Theory of Aesthetics

Artist’s inner vision must resemble state of Artist’s inner vision must resemble state of mystical bliss (brahmananda)mystical bliss (brahmananda)

Artist’s state of concentration described as Artist’s state of concentration described as yoga (release from pain and pressure of yoga (release from pain and pressure of life)life)

Believed artist sees white light with inner Believed artist sees white light with inner eyeeye

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Indian Theory of AestheticsIndian Theory of Aesthetics

Artist’s responsibility to convey this experience Artist’s responsibility to convey this experience to the audience through sound, gesture, word, to the audience through sound, gesture, word, movement, mass, line, color, and symbols.movement, mass, line, color, and symbols.

Every part of the work relates to the wholeEvery part of the work relates to the whole

Characters in art become archetypes Characters in art become archetypes (An (An original model or type after which other similar original model or type after which other similar things are patterned; a prototype )things are patterned; a prototype )

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9 Dominant moods (rasas) and 9 Dominant moods (rasas) and emotions (bhavas) of archtypesemotions (bhavas) of archtypes

eroticism (srngara)eroticism (srngara) pathos or compassion (karuna)pathos or compassion (karuna) heroism (vira)heroism (vira) fierceness (raundra)fierceness (raundra) laughter (hasya)laughter (hasya) fear (bhaya)fear (bhaya) disgust (vibhatsa)disgust (vibhatsa) wonder (adbhuta)wonder (adbhuta) tranquility (santa)tranquility (santa)

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Dominant moodsDominant moods

In addition there are transient emotionsIn addition there are transient emotions

Two kinds of emotions presented through archetypal Two kinds of emotions presented through archetypal characters of gods and humans in dance, drama, music, characters of gods and humans in dance, drama, music, poetry, sculpture and, and paintingpoetry, sculpture and, and painting

Three step process: experience, expression, evocationThree step process: experience, expression, evocation

““How can we know the dancer from the dance?” – YeatsHow can we know the dancer from the dance?” – Yeats

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ThemesThemes Highly literary in character Highly literary in character

Draws upon sources of Indian mythology, legend, and Draws upon sources of Indian mythology, legend, and epic poetryepic poetry

Poses of Indian dance based on Indian sculpturesPoses of Indian dance based on Indian sculptures

Gestures are symbolic and derived from ancient rituals Gestures are symbolic and derived from ancient rituals specified in Brahmanasspecified in Brahmanas

Music and rhythmic patterns of dance are the classical Music and rhythmic patterns of dance are the classical ragas and talasragas and talas

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Reflect in your journal on the Reflect in your journal on the following questionfollowing question

How are the demands made upon the How are the demands made upon the spectators and dancers of Indian dance spectators and dancers of Indian dance (Eastern Dance) different from those of (Eastern Dance) different from those of Modern, Jazz, or Ballet (Western Dance)?Modern, Jazz, or Ballet (Western Dance)?