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Vistas of Bharat : Indian Culture

Vistas of Bharat Bring Kathakali: The Crescendo Of Classical Dance Forms

Entertainment through dance, maintain the fervor through drama and storytelling, Kathakali is a metaphor for India’s artistic excellence.

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Kathakali

The origin of complete and mature structure of Kathakali traces back to 17th century in the state of Kerala, however, the dispersed elements of this dance form can be found in the ancient Hindu text Natya Shastra. The vestiges of dance forms like Kutiyattam, Ashtapadiyattom and Krishnanattam can be conjectured in Kathakali and it is believed that the former serve as a precursor to the latter. A distinctive feature of the dance form is that unlike other classical Indian dance forms which flourished in the temples and other religious institutions, Kathakali originated and burgeoned in the courts and theatres. It is intriguing to know that some of the gestures of kathakali have originated from the ancient martial art techniques of Kerala kalarippayattu. 

A kathakali performance is put forward by the strenuous endeavours of dancers cum actors, playwrights and the musicians. Dancers through the combination of around 24 Hastamudras (sign language) and nine facial expressions, each symbolic of a particular sentiment, add to the theatrical effect. The storyline, called Atta Katha, is inspired from various mythological epics like Mahabharata, Ramayana and Bhagavat Purana and comprises of two components Shlokas and Padas. Shlokas, written in Sanskrit, which narrate the scene and Padas, written in Malayalam, which dictate the dialogues to which the actor enacts, together add to the dramatic effect. The highly trained vocalists sing the verses attuned with lyric and metre live, complemented with the instruments like Maddalam, Centa and Itaykka.

Another distinguishing feature of this dance form is its costume. Its vividness in emphasized by the added colours through face masks, painted faces with the use of organic colours, head accessories and costumes. There are 7 universally accepted colour codes for different types of characters namely Pachcha (green), PazhuppuKathiKariThaadiMinukku and Teppu

The repertoire of the performance begins with the Totayam (pure dance behind the curtain without costume) and Puruppatu (pure dance with the costume without the curtain) and is followed by a dance drama composed of different gestures namely Kalasam (marks the ending of a verse), Iratti (used in portrayal of battle or war), Tonkaram (“similar to Iratti but different music”, Wikipedia), and Nalamiratti (marks the character’s exit or the scene’s ending).

Modern revolutions have made women a part of the performance and adoption of stories from western literature common. It is the most popular classical dance form even in the world of philistinism and perhaps the fuel that’s keeping the flame alive. 

Credits: YouTube (Utopia Artworks)
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Vistas of Bharat : Indian Culture

Vistas Of Bharat: Eccentric Dance From The Foothills Of Manipur

Manipuri or Jagoi as its name suggests is a regional dance form of the northeastern state of Manipur and is a beautiful union of cultural and folk dance.

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Manipur

According to the mythological beliefs the native people of Manipur were called Gandharvas and they were efficient in this dance form. Although the epics Mahabharata and Ramayana mention about a dance tradition in Manipur it is believed the tradition cascaded to progeny verbally and the earliest reliable mentions of the dance form are found in the cultural texts of 18th century. It is also believed that the 18th century king Bhagyachandra dreamt of the idea of Rasleela dance form and structured the dance form which can be said to be a precursor to the Manipuri dance.

The geographical location of Manipur has kept it away from the susceptibility of foreign influence through invaders and maintains its idiosyncrasy which can be witnessed in the cultural dance form Manipuri which remains true to the Indian roots. The dance form focuses precisely on the dexterous hand and upper body movements.

There are two generic styles of Manipuri first, Tandava, capturing the themes of Shaktism and Shaivism and second, Lasya dedicated to Vaishnavism. In the Lasya style portrayal of Raslila or the love stories of Radha and Krishna is prevalent and Manipuri is basically known for this style. In the honor of the sylvan deity Umang Lai, the dance is performed in the Lai Haraoba festival.

It is known for its spectrum of movements ranging from delicate, sinuous and emotive feminine to aggressive masculine movements. The facial expressions aren’t exaggerated unlike in other classical dance-drama forms and sarvangabhinaya or the full body movement is the eccentricity of this dance form. The repertoire is structured according to the season in the Rasleela and the basic step being called Chali or Chari. There are five Ras, four of which are dedicated to each season and the fifth one can be performed anytime. Other styles include Thang-ta (inspired by martial arts), Sanskirtanas and choloms (masculine aspect).

The costumes are creatively unique and indigenous, a female being dressed in a traditional bridal dress called Potloi with a barrel shaped decorated skirt called Kumil and male is dressed in a dhoti. The tunes of high pitched classical Manipur music, Nat, with its trills and modulations accompany in reverberating the heartbeats of people. The instruments like Kartal, Pung, Pena and flute add to the effect. 

Inspired by the beauty of Manipuri dance Rabindranath Tagore invited Guru Naba Kumar to teach Rasleela at Shantiniketan in 1926. Through our initiative Vistas of Bharat, it’s time to cast light upon the dimming flame Tagore illuminated.

Credits: YouTube (WildFilmsIndia)
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Vistas of Bharat : Indian Culture

Vistas of Bharat: Revisiting The Cultural Inheritance Of Bharatanatyam

Vistas of Bharat brings the richness and divinity of the Indian Classical Dance of Tamil Nadu, Bharatanatyam.

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Bharatnatyam

A gem in the cultural inheritance of Tamil Nadu, Bharatanatyam, is not limited to being just a classical dance form. Adding to its sacredness is the mythological belief of associating its origin to Lord Shiva himself. The earliest mentions of Bharatanatyam are found in the 2nd century CE epic verse of Tamil Nadu’s’ Silappatikaram’. The temple scriptures point towards its popularity during 1st millennium CE. It even finds itself in the ‘natya shastra’, which is an illustrative index of all ancient Indian dance forms. It is one of the oldest classical dance form and has been a part of Hindu temple rituals.

Bharatanatyam is a dance form which includes the coordination of various body gestures. It includes a splendid footwork, ringing the sacred bells of ghungru, admirable hand movements and facial expressions with emotions. The dance follows a systemic 7 step sequence called margam, beginning with Alarippu, Jatiswaram, Shabdam, Varnam, Padam, Thillana, and ends with Shlokam or Mangalam. Such synchronization of different movements in accordance with the melody of Carnatic music is used to express the inner feelings of man through dance. In a philosophy centric religion as Hinduism, the prime scriptures, Vedas, thus describe the dance as a form of sadhana. Owing to the degradation of mental peace in today’s era of materialism, some food to the soul, like this, is an essentialist requirement.

In ancient times the dancers were called ‘Devadasi’ meaning serving ‘the Lord’ through dance and perhaps that’s why the Bharatanatyam dancers are dressed in a tailor-made, pleated saree and are ornamented with jewelry and ghunghru in a similar fashion as the Tamilian brides. This is to equate the sacredness of the two acts. It was actively criticized through the anti-dance movement of colonial India, but India preserved its culture in the lap of its temples and throughout the 19th century it remains exclusive to temples only. We should be obliged to mainstream dancers like Rukmini Devi, Arundale, Balasaraswati and Yamini Krishnamurthy for its post-colonial revival. Forgotten in the illusions of modernity, Bharatanatyam being overshadowed by other western dance forms seeks revitalisation and revival in the mind of fans of Bollywood.

In this light, we bring you some exquisite and divine Bharatanatyam performances by these sterling dancers. 

Tandav – Sayani Chakraborty

Tandav is a Sanskrit word that means frantic dancing. This vigorous dance performance is associated with Lord Shiva, who, in his role as a destroyer, used to perform this dance on cremation grounds and cemeteries. Tandav symbolizes creation, preservation, and destruction. A Tandav dance needs to be brimmed with power and should be dynamical and that is what we witness in Sayani Chakroborty’s Tandav performance. Self-choreographed, this exuberant and sharp performance by Sayani Chakraborty fuels the atmosphere with an intense aura that leaves us applauding. 

Credits: YouTube Sayani Chakraborty

Ai Giri Nandini, Durga Strotam – Sadhwi Majumder

The passionate dancer with her mighty steps and the perfect accompanying expressions, Sadhwi gives an ode to the feminine power of Maa Durga. Through the majesty of Bharatanatyam, Sadhwi Majumder embodies the power and soul of Goddess Durga. The entire performance, along with her yellow pleated saree and jewellery, reflects the rich cultural and tradition of India’s classical dance, that is ever so eloquent, with hints of vigour and might. 

Credits: YouTube Sadhwi Majumder

Jiya Jale Dil se – Tanvi Karekar

Tanvi Karekar presents a beautiful Bharatanatyam dance, in a brilliant blue saree, set against a blue lake and sky, which makes the performance even more delightful. Self choreographed, she presents us the traditional bharatanatyam dance on an evergreen song like Jiya Jale! The 3 minute performance takes one in a magical state. Through dance, Tanvi narrates a story. Tanvi’s passion for bharatanatyam brings forth the dance as a storytelling mirror as well.

Credits: YouTube Tanvi Karekar

Adiyogi – Hetal Makwana

This duet Bharatanatyam performance by Hetal Makwana is an homage to Lord Shiva on Mahashivratri. Lord Shiva is known as Adiyogi, or the first yogi. He’s the originator of the art of Yoga. The dancers, with their graceful body language, immerse themselves into the tranquillity and fierceness of Lord Shiva. The perfect choice of the song, that is, Adiyogi by Kailash Kher, needs to be applauded. Together with this song, and the duet’s impressive expressions and graceful steps, heartfelt devotion is made to Lord Shiva. 

Credits: YouTube Hetal Makwana

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Vistas of Bharat : Indian Culture

Vistas of Bharat: Celebrating Kathak, North India’s Only Classical Dance

In today’s chapter of ‘Vistas of Bharat’, we enlighten you on the exuberant and reverent classical dance form of India, Kathak.

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Vistas of Bharat Kathak

Adorned with interactive theatrics and exuberance of the Kathak performers, Kathak is the most popular classical dance form of India and the only one prevalent in north India. Incorporating the word ‘Katha’ (story) in its name, it emerged as an art form for narrating stories from great mythologies. Kathak performers were mostly found in the north Indian courts.

Kathak bloomed during the Bhakti movement by the nomadic ‘kathakars’. The dance mainly narrated the stories of Hindu Lord Krishna. This type of dance is known as ‘nritya’ or expressive dance. On the other hand, pure dance is known as ‘nritta’. Feet synchronizing with the rhythm of tabla, splendid hand movements, interactive expressions along with sarangi and manjira running the cycle of the tunes of ‘Dhrupad’ music are put together in performing a splendid Kathak performance. Hindu culture has maintained the practice of dance as a form of worship and thus the performance is started with an invocation or ‘vandana’ followed by ‘nritta’ or ‘nritya’.

The costumes vary with the gharana but most commonly the female dancers drape a saree around waist, wear choli to cover the chest and add to the magnificence with an odhni. The male dancers wear a dhoti and often leave the upper body bare. Historical traces of Kathak date its origin by around 400 BCE, likely in Banaras. With the augmentation of the popularity of Kathak, it migrated to other cities like Jaipur and Lucknow. This resulted in formation of different ‘Gharanas’ (etiquettes). Although they had a common origin, each gharana maintained the idiosyncrasy. The Lucknow and Banaras gharana focuses on the narrative expressions and hand movements while the Jaipur gharana on footwork.

The evolution of Kathak during the Mughal Era added the element of ‘eroticism’ to the form. In the colonial times of British Raj, it fell under the criticism of ‘anti-dance movement’ along with the other dance forms. Serious accusations like equating dance with prostitution surfaced. Nevertheless, after independence, Kathak reemerged vivaciously in Indian culture. It is a combined skill of expertise and excellence flowing through the current of culture and demands a bow in its respect. Dance forms, as Kathak, are an eminent part of our cultural heritage. Their preservation, in the times when such cultures are on the verge of getting buried in the pages of history, is our duty.

Therefore, here we present you some contemporary Kathak Performers, sprinkling the beauty of this classical dance form in all of its authenticity and reverence!

Vande Matarm Eshani Sathe

Eshani Sathe’s Kathak Performances opens a window to how her heart and soul are connected to this art form so intricately. The myriad of Kathak performances by her creates a serene and peaceful atmosphere for the viewers. Similarly, in this performance, she delivers respect to India on its 75th Independence through Kathak. Eshani performs a humble and soulful Kathak dance, which captures India’s diversity and love. Her dance easily reaches out to the viewers’ hearts.

Credits: YouTube Eshani Sathe

Garaj Garaj – Shivangi Dake

Shivangi’s YouTube channel featuring a multitude of her kathak performances will leave you stunned. She has imbued Kathak in every festival celebration of India, be it Holi or Diwali, and in other aspects of our daily life. The ‘Garaj Garaj’ Kathak performance is one example of this. Shivangi summons the tranquility and vigour of rainfall through Kathak. Self-choreographed by Shivangi, adorned in a blue sari, she leaves the viewers mesmerised by her rain like movements. Through this, she also sprinkles the relationship she has with the Kathak art form, as she uses it to convey an aspect of nature.

Credits: YouTube Shivangi Dake

Draupadi SankalpDamini Bisht

The episode of Draupadi’s sexual assault by the brothers of Kauravas in the male dominated sabha is one of the most prominent scenes from Mahabharata. Damini, with her eloquence, dexterity and great rhythm, narrates the entire episode with the art of Kathak. She doesn’t play one or two roles, but simultaneously, multiple roles, and in that midst, fluently narrates the whole scene without uttering one word. That is on Damini and her deep understanding of the with this reverent classical dance form of India.

Credits: YouTube Damini Bisht

Shesh PhanaShruthi Gupta

Through Shruthi, a Kathak performer and choreographer, we experience yet another proficient Kathak performance, this time narrating an excerpt from Ramayana. Shruthi brings to life the complex characters, Lord Ram, Ravana and Ravana’s wife Mandodri. Excelling in grit and expressions, she paints angst, agony, love and revenge through her performance. 

Credits: YouTube Shruthi Gupta


Shiva … Rudrashtakam Composition – Mohit Shridhar

Mohit Shridhar, an expressive and exquisite Kathak performer, delivers a passionate kathak performance on Rudrashtakam composition. Rudrashtakam composition is a devotional Sanskrit composition on Lord Shiva. Mohit’s powerful yet elegant Kathak movements light up the stage! His strong presence is felt as we watch Mohit devotedly lose himself in reveries of Kathak.

Credits: YouTube Mohit Shridhar
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Vistas of Bharat : Indian Culture

Vistas of Bharat: The Rich Elements That Encompass Indian Culture

It brings us immense pride to introduce to you ‘Vistas of Bharat’, a series of exciting cultural explorations to discover what truly makes India so special. So hold our hands, and walk along with us as we traverse the path of discovery and knowledge.

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Vistas of Bharat

Friends, Indians, Countrymen! Lend me your ears (or eyes). Some wise old person walked along mysterious roads and said, “The greatest journey you can take is within yourself.” Amidst the uncertainty and chaos in the outer world, we bring you a unique exploratory experience of the amazing heritage, places and things of our rich culture. Therefore, it is with utmost pleasure that we invite you to ‘Vistas of Bharat’, a deep cultural exploration into diverse Indian art forms and elements that live within all of us. All you need is yourself as we all carry the deep knowledge and ancient wisdom of what defines us as Indians.

Over the coming days, Vistas of Bharat will introduce you to dance forms, great literature, musical repertoire, figures lost to history and enchanting myths of India. As generations upon generations have passed by, we might have found ourselves a lot more distanced from the memory of our ancestors, who left their culture as a last will and testimony to us. Needless to say, we are the conduit of its preservation and harbingers of its change. The present generation is restless and charged as it stands at the precipice of some of the most aggravating challenges the world has yet to pose and so it finds itself reminiscing. Prepare yourselves to be befuddled by the beauty of all that was, is and could be.

So are you ready to take this journey within yourself?

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