Transformation of Devadasi Dance to Modern Bharatanatyam Dance!

The term Bharatanatyam today describes a particular style of dance. Factually, Bharatanatyam is a system of dance, described in the Natya Shastra, capable of manifesting various forms. Four related but distinct kinds conforming to the system of Bharatanatyam are:

Sadir Natyam – a solo dance type performed for centuries by devadasis in temples and eventually in the royal courts of South India, especially in Tamil Nadu. 

Bhagavata Melam – a group form of dance drama from Tamil Nadu, with all roles performed by men, and themes based on folklore. 

Kuravanji – a group dance by women, interpreting poetic compositions typically on the theme of fulfillment of the love of a girl for her beloved. 

Kuchipudi – a group form of dance drama from Andhra Pradesh, with all roles performed by men, and themes based on folklore. 

While a number of India’s dance types, like Manipuri, Mohini Attam, Yakshagana, and Kathakali, can be considered variations of the system of Bharatanatyam, they are not as firmly rooted in it as the four listed above.

The birth of this art form as well as the donning of these traditional costumes traces its ancestry way back to the 17th century, wherein Devadasis, who were temple dancers, practiced Bharatnatyam (Sadir Natyam) to worship gods and goddesses. In Southern India, a devadasi was a female artist who was dedicated to worship and serve a temple for the rest of her life. The adhesion took place in a Pottukattu ceremony that was somewhat similar to a marriage ceremony. In addition to taking care of the temple and performing rituals. After becoming Devadasis, the women would spend their time learning religious rites, rituals, dances, etc. They were expected to live a life of celibacy, however, there have been instances of exceptions. The absolute origin of the Devadasi tradition is unknown. The first known mention of a Devadasi is to a girl named Amrapali, who was declared nagarvadhu by the king during the period of the Buddha.

Devadasis wore heavy studded and embroidered saris and were depicted as celestial dancers who performed this classical art dance on earth.

Devadasi would perform the dance daily at the time of worship, and it came to be patronized by the Rajas and the princes. In the course of time, they began performing in the royal courts and thus its religious sanctity was lost.

This unique classical dance tradition deteriorated in the North due to repeated foreign invasions, and mixed dance forms replaced it. Luckily, the dance tradition survived in South India, where it continued to be patronized by kings and maintained by the devadasi system. However, under British rule, propaganda prevailed against Indian art, misrepresenting it as crude, unscrupulous, and inferior to the concepts of Western civilization. This influence was pervasive enough to dissuade the patronage of royal courts for ritual temple dances, and to transfer educated Indians from their traditions. The Madras Presidency under the British colonial government ruled out the custom of dancing in Hindu temples in 1910 and with this, the age-old tradition of this classical dance of South India was almost wiped out, even in Tamil Nadu.

Against all odds, a few families preserved the knowledge of this dance form. Its revival consisted of individuals from disparate backgrounds: Indian freedom fighters, Westerners interested in Indian arts, people outside the devadasi class who learnt Bharatanatyam, and devadasis themselves. 

During the early post-colonial years, India was dealing with its aftermath, poverty and strife and with the immediacy of industrial development, perhaps the national agenda didn’t see it significant to address the override of a community of women, allowing the complete dislodging of their identity. This allowed for a new class to emerge as the saviours of traditional art, renaming it, leaving behind the practitioners to fend with social neglect and the perils of improper implementation of a social and economic reform associated with the Prevention of Dedication act, by themselves.

Bharatanatyam now attracted young artists from respectable Brahmin background. Initially met with shock, their participation helped to shift public opinion in favor of reviving the art. Two such ladies were Kalanidhi Narayanan of Mylapore and Rukmini Devi of Adyar. Their works won over much of the orthodox community of Madras. Their reforms of costume, stage setting, musical accompaniment, and thematic content, won against the objections of conservatives that Bharatanatyam was vulgar. Rukmini Devi went on to found the Kalakshetra institute, to which she attracted many great masters and musicians, with whom she trained generations of dancers.

Over the years, this art form has evolved and transformed in its traditional pride, retaining the original essence of the culture. 

Bharatnatyam dance has made dancing once again significant, so much so that it is now seen as an essential social accomplishment, and has also achieved international recognition as one of India’s treasures.

Alta, the red color dye in Indian Classical Dance

ALTA, THE RED COLOR DYE FOR INDIAN CLASSICAL DANCER

Alta is the bright red color liquid ink applied on the fingers and feet of an Indian Classical dancer. 

Most of the Indian classical dance forms have many meaningful mudras which are symbolic hand gestures used by the dancer to explain and express. 

Please see below some pictures where Altha is used in hand and feet of an Indian dancer.

 

Painting the hands and feet with Alta brings out the beauty of and expressiveness. It is a common practice to paint traditional designs on to hand and feet during festivals, Indian weddings and Hindu poojas.

Alta in olden days was made from betel leaves. It was replaced with artificial products like Sindoor and Kumkum to create similar liquid. In today’s time, the mostly available Alta is made out of chemical colors and is banned in some countries as it can cause severe allergies. Modern dancer use high quality red markers, which are convenient to carry and use. These are safe permanent markers of specific brands and easily washable after the program or ceremony.

Printing invitation for Bharatanatyam Arangetram !

As we are writing this blog, me and my wife are proof reading my daughter's Bharatanatyam arangetram invitation. I can't even believe that I am writing a blog now. But then, there is  no better time. If I don't write now, I probably won't write it ever because, as soon as we get the invitations printed, we will have to start mailing it, then we will have to start arranging other things for the arangetram and will get busier and busier...

I have designed and printed many brochures, event tickets, program guides and flyers as part of my volunteering work with many associations in and around Indianapolis. Usually, once we decide a program, the committee members will collect some pictures of the artists and I use publisher to put together the text and pictures. One or two committee members proof read it and suggest some design changes and then we will send to OfficeMax or Kinko's and we are done. All will be finished in a day or two.

But the Arangetram invitations is nothing close to it. We were waiting till last week to get the photo shoot done for the picture for  invitation. By the way, photo shoot is another hurdle. Please read my blog on photo shoot to see what happened on that day and what you should or shouldn't do during photo shoot.

Back to invitations - first, come up with a budget. Most of us think printing in India is cheaper. Not true. My friend printed 200 cards for about 18000 Rupees and then paid extra to ship it here. About 2 dollars including the shipping for a 2 sided 8x6 inch card with envelope. Well, there is nothing other than name and address on the envelope. This is offset printing job though - the best quality print you can get for these type of jobs. Here in Carmel, we asked quote from two printers for 350 cards. One from PIP and another from my friend who owns a big printing business. PIP quoted about 600 dollars for a folded 4 page design with 10x7 inch card with digital print. The end product will be a folded invitation with 4 pages, each pages being 5X7 inch size. My friend quoted about the same price for offset printing for the same. Probably the best price one can get in USA. Both quotes included about 2 hrs of design time, provided we give all photos and art work etc...Obviously I went with my friend as it was offset printing and the price was cheaper. This worked out to about 1.75 per card for a larger card with offset. Most of the print jobs you get now a days are digital print outputs. Digital means high quality laser printers. These are cheaper and quicker, but the quality and originality of the color is incomparable with offset printing. Also since the paper or/card is being heated during the digital printing, when you fold, the ink will give way and card break at the folding line, resulting in a very bad appearance. Offset print will not do this to the card.

Selecting the background color, text color, border color and matching them with the envelop color is a time consuming process. Thanks to my wife and dance teacher - they have much better sense of color than me. Make sure the content is readable and clear. Main content is the names of dancer, guru and the event date, venue and time. Make sure to add the RSVP email or phone number. We had designed in an RSVP functionality to my daughter's website and so it worked out fine. If you do not like boxed gifts, please say so in the invitation. Also if you are going to donate the proceedings to some charity, tell that also in the card. Also specify the start and end of the program - this will help your friends to plan that day correctly.

If you are planning for any chief guests, please start talking to them at least 6 months before the arangetram. They are busy people and their calendar gets filled very quickly. We are exactly 3 months away from the Arangetram.  We started talking to dignitaries about 3 months ago and and just finalized now. This helped us to put their names in the invitation.

Make sure you have the dance costume and dance jewelry for the photo shoot. Another thing learned is about the background of the picture during photo shoot. Mostly black is good for pictures for brochure and invitation. But if you are planning for different backgrounds in your brochure, try to take some of the pictures with white background also.

Bharatanatyam - Lord Shiva's Dance

Bharatanatyam finds its origins interlocked with classical Indian dance that mimics one of the basic five elements of life. Which when performed is a hypnotizing dance that resembles a flame, to honor Lord Shiva-supreme lord of dance. Traditional dance jewelry worn during the Bharatanatyam dance is known as temple jewelry, which was originally made from gold with rubies, emeralds and pearls. Used by the Devadasi girls as they danced in the temples to honor Lord Shiva original dance.

Artisans created theses authentic masterpieces for centuries in the southern part of India. Even today people revere and covet temple jewelry for its unique beauty and craftsmanship.  Bharatanatyam temple jewelry, combine with the silk multi-functional costume, which becomes enhanced with bells that allow each foot gesture to have a voice. Which seduces and captivates the audience in a mystic trance, As the performer goes through the motions of the dance the costume flows with them. Stimulating the audiences eyes with broad colors, while using body language and hand gestures to portray the ritual dance.

Originally, temple jewelry beautified the gods and goddesses in the temples during the 9th century. Later, women of the South India adopted a liking for the jewelry, which terpsichorean use in their routine to pay respect to their heritage.

There are 10 jewelry pieces that make up the set to do a Bharatanatyam dance: Choker, Long Chain, Mattal, Nath, Bullakku, Ottiyanam, Jimikki, Bangels, Rakkodi, Chandran/Sooryan and Nethichutty. A beginner can get by with a head set, necklace, and belts.  Every piece of the Bharatanatyam performer is essential to the routine even the performers hair dressed with a Chandra (moon shaped) and Surya (sun shaped) ornaments.

The Saree skirt style or Pyjama style which have gold Zari embroidery designs on the skirt. Open when the dancer performs a special posture known as a arai mandi (half-sitting) and muzhu mandi (full sitting). Ever aspect of the beautiful performance ties together giving the audience a breathtaking display meant for a king or god.

Traditional indian dance form

Author: Ranjana Banerjee

TRADITIONAL INDIAN DANCE FORM:
Dance is an ancient and revered Indian art form that is traditionally linked to mythology and classical literature. Historically, accomplished artists were a matter of prolific pride among royal houses; the quality of their respective dance troupes was at one stage the cause of intense competition between the maharajas of Mysore and Travancore. Between the 2nd and 8th centuries, trade between South India and Southeast Asia brought a cultural legacy that endures in the dance forms of Bali (Indonesia), Thailand, Cambodia and Myanmar (Burma). Today dance-classical, popular and folk-thrives on city stages, on the cinema screen and in towns and villages throughout South India.
India has a very rich tradition of classical dance. Each form has its own specialty & grace, along with a set pattern of costumes & make-up. Today the acknowledged classical styles are:
1.Bharatanatyam, is a classic dance form originating in Tamil Nadu, a state in South India and is the known as the Indian National Dance. This dance form is a 20th century reconstruction of Cathir, the art of temple dancers. Cathir in turn, is derived from ancient dance forms. Bharatanatyam is usually accompanied by the classical Carnatic music. Bharatanatyam is considered to be a fire-dance - the mystic manifestation of the metaphysical element of fire in the human body. The movements of an authentic Bharatanatyam dancer resemble the movements of a dancing flame
2.Kathak, originated from Northern India. This dance form traces its origins to the nomadic bards of ancient northern India, known as Kathaks, or story tellers. These bards, performing in village squares and temple courtyards, mostly specialized in recounting mythological and moral tales from the scriptures, and embellished their recitals with hand gestures and facial expressions. It was quintessential theater, using instrumental and vocal music along with stylized gestures, to enliven the stories.
3.Kathakali, is a highly stylised classical Indian dance-drama noted for its attractive make-up of characters, their elaborate costumes, detailed gestures and well-defined body movements presented in tune with the anchor playback music and complementary percussion. It originated in the country's southern state of Kerala during the 16th century AD, approximately between 1555 and 1605, and has been updated over the years with improved looks, refined gestures and added themes besides more ornate singing and precise drumming.
4.Kuchipudi (pronounced as ‘Koochipoodi'), is a Classical Indian dance form from Andhra Pradesh, a state of South India. The movements in Kuchipudi are quicksilver and scintillating, rounded and fleet-footed .Specifically there is the Tarangam of Kuchipudi which is unique in that the dancer must dance upon a brass plate, placing the feet upon the raised edges. The dancer moves the plate with much balance as the individual is traditionally dancing on the plate with two diyas (small oil-burning candles) in his or her hands while balancing a "kundi" (small vessel) containing water on their head. At the end of the dance, typically, the dancer extinguishes the candles and washes his or her hands with the water from the vessel.
5.Manipuri, dance is one of the major Indian classical dance forms. It originates from Manipur, a state in north-eastern India on the border with Myanmar (also known as Burma). The traditional Manipuri dance style embodies delicate, lyrical and graceful movements. The feet move is viewed as part of a composite movement of the whole body. The dancer's feet are neither put down nor lifted up at the precise rhythmic points of the music but rather slightly earlier or later to express the same rhythmic points most effectively
6.Mohiniyattam, is a traditional South Indian dance form Kerala, India. It is a very graceful dance meant to be performed as a solo recital by women. The term Mohiniyattam comes from the words "Mohini" meaning a woman who enchants onlookers and "aattam" meaning graceful and sensuous body movements. The word "Mohiniyattam" literally means "dance of the enchantress".
7.Odissi, is one of the classical dance forms of Originates from the state of Orissa, in eastern India. The classic treatise of Indian dance, Natya Shastra, refers to it as Odra-Magadhi. It is particularly distinguished from other classical Indian dance forms by the importance it places upon the tribhangi (literally: three parts break), the independent movement of head, chest and pelvis, and upon the basic square stance known as chauka.
8.Sattriya, the core of Sattriya Nritya has usually been mythological stories. This was an artistic way of presenting mythological teachings to the people in an accessible, immediate, and enjoyable manner. Traditionally, Sattriya was performed only by bhokots (male monks) in monasteries as a part of their daily rituals or to mark special festivals. Today, in addition to this practice, Sattriya is also performed on stage by men and women who are not members of the sattras, on themes not merely mythological.
The true traditional Indian dance, it has to be stated clearly, is not a vulgar form of entertainment but a sacred ritual that is supposed to bring the rasanubhava (catharsis, or spiritual upliftment) to the rasika (audience) and the dancer.
Most of the contemporary choreographers and dancers may use some of the formal traditional Indian dance technique or its elements to stage ballets presenting various themes such as nationalism, unity of religions, the sanctity of the environment, the animal rights activism, or a political party for a social cause.
http://www.eslarrenterprise.co.in/blog
Article Source: http://www.articlesbase.com/dance-articles/traditional-indian-dance-form-5490396.html
About the Author
Completed ISC from a reputed English medium school in Kolkata in the year 2002 with 85%+. Fashion & beauty is in my blood as my mother who is sole inspiration of Eslarr Enterprise, incorporated in the year 1978 is now a renowned manufacturer and exporter of Indian Ethnic Dresses.
I have also studied kathak for 6 years while I am in school. I am experimented with whatever seemed interesting. I will try anything once. I believe that if God gives you talent, don't be ungrateful. Use it.
 

Importance of ankle bells in Indian classical dance

Indian classical dance is a varied form of art and has numerous styles to boast of. The different styles of dancing broadly pertain to the different geographic regions in the country. Each one of them proudly presents its own style, rhythm, grace and costume. Irrespective of these differences, most Indian classical dances have one thing in common – the "Ghungroo" or the ankle bells that are tied around the ankle of the Indian dancers.

The ghungroo is considered very special and are regarded with great respect by the Indian classical dancers. It is regarded as an inseparable part of the Indian classical dancing tradition for many forms of Indian classical dance such as the Bharatanatyam, Kathak, Kuchipudi, Mohiniyattam, etc.

Although, today the custom of wearing ankle bells has become prevalent in many dances such as the belly dance and most Indian classical dances; and is blindly followed as a tradition by many Indian classical dancers; there is a definite reason behind why this practice came into existence.

 The ghungroo or ankle bells are nothing but small metallic balls (usually made of brass) with a smaller metallic ball inside each one of them. They are strung together and tied to the ankle of a dancer. In modern days, for ease of use, these metallic balls are fixed on a leather or cloth strap that can be easily worn around the ankle of the dancer. Whenever the dancer moves his/her leg, the metallic balls in the ghungroo originate a sound that is in rhythm with the leg movements. 

Swift and graceful movements of different parts of the body such as the eyes, head, hands and feet in tune with the music is what constitutes a dance in most of the Indian classical dance forms. For an observer it is easy to decipher the movement of the eyes, head and hand while it might not be so easy to distinguish and appreciate the leg movements. Most of these dances tend to use complex leg movements that serve to highlight the dancing skills of the individual. However all this will just go unnoticed if there is nothing to accentuate these movements. And that is the exact purpose why the practice of using ankle bells while performing a dance came into being. 

Apart from emphasizing the complexity of the leg movements, the sound from the ankle bell also keeps the dancer in tune to the music and stay in rhythm, gives more life to the dancing and simply adds to the grandeur

New Bharatanatyam costumes added to our product line !

This week we have added two different types of Bharatanatyam costumes to our product line at the online store of http://www.indiamartinusa.net/. One is made of Dharmavaaram type silk saree and the other one is made of art silk saree. Both will be stitched in India as per the measurements provided by the customer. The delivery time is around 4 – 6 weeks. Please download our costume measurement chart, fill it up with correct measurements and fax to 240 241 5171. We already have dance practice costumes which can be used for Bharatanatyam, Kuchipudi or Mohiniyattam dance practice lessons. The cost of our Bharatanatyam costumes are very reasonable. Please check out our website for more information. Apart from the Bharatanatyam dance costumes, we also have imitation temple jewellery and dance make-up accessories including false hair, Kunjalam, hair bun etc…

Types of Bharatanatyam Jewelry

Most of the online stores selling Bharatanatyam jewelry has usually three different types of ornamants. The jewelry with red and white stones, imitation temple jewelry, and real temple jewelry. Out of all these, the cheapest is the first catagory. The base metal to make these and imitation temple jewelry are the same. Only the color and type of the stones are different. The real temple jewelry is made of silver and coated with gold. The stones used for this are the kemp stones imported from Srilanka.