رقص هندی

در سده اول قبل از میلاد در هند، بسیاری از متون رسمی با این نگرش نوشته می‌شدند که قوانین مدیریت اجتماعی، زندگی خصوصی، نظام زبانی، مبادلات مالی عمومی، سیاست داخلی، فنون شعر و فنون اجرای نمایش را تدوین کنند. « ناتیاشاسترای » باراتا مونی اولین متن موجود درباره رقص است.

گرچه موضوع اصلی « ناتیاشاسترا » نمایش است، به موضوع رقص نیز به مقدار قابل توجهی پرداخته‌است. این متن از یک سو به جزیئات حالات مختلف حرکت دست می‌پردازد واز سوی دیگر این حالات حرکت را به دو دسته نرم و شدید تقسیم می‌کند؛ حالت اول معرف شکل رقص « لالیتا » (« لایسا ») و حالت دوم معرف رقص « تنداوا » است. رقص به چهار دسته و چهار نوع منطقه‌ای تقسیم می‌شود. «ناتیاشاسترا» این چهار دسته را سکولار، تشریفاتی، مجرد و شرحی می‌نامد. جغرافیای منطقه‌ای از زمان باراتا کاملاً تغییر کرده‌است و در نتیجه به جز در یک مورد تغییرات مختلفی ایجاد شده‌است: «ادرا ماگادی» که پس از ده‌ها سال مناظره به عنوان منطقه امروزی میتیلا - اریسا و رقص ادیسی شناسایی شده‌است.

سبک‌های رقص بارها مردند و بارها احیا شدند و این مطلب در مورد گفته‌های باراتا نیز صادق است. اما در رقص شرحی او می‌توان ریشه‌های مختلف رقص « کاتاک » امروزی را جستجو کرد؛ همین نشانه‌ها در مورد رقص تشریفاتی در «باراتاناتیام» و ادیسی و در مورد رقص سکولار در« مهینی آتام » و« کوچی پودی » وجود دارد. امروزه تجرید تقریبا ویژگی همه اشکال رقص هندی کلاسیک است.
رقص هنری کلاسیک در سال ۱۹۴۷
جستجو در ویکی‌انبار در ویکی‌انبار پرونده‌هایی دربارهٔ رقص هندی موجود است.

در دوره آخرین مغول‌ها و نواب‌ها، رقص به یک «لذت نفسانی» و کار غیر اخلاقی تبدیل شد که توسط روسپی‌ها انجام می‌شد.

بعداً با پیوند یافتن رقص با فعالیت‌های غیراخلاقی و فاحشگی، قوانین انگلستان اجرای عمومی رقص را ممنوع کرد. عده بسیاری این قانون را مورد انتقاد قرار دادند. در سال ۱۹۴۷ هند آزادی خود را به دست آورد و این احساس بوجود آمد که رقص می‌تواند دوباره به گذشته با شکوه خود باز گردد. گونه‌های کلاسیک و تفاوت‌های منطقه‌ای بار دیگر آشکار شدند، مشخصات قبیله‌ای مورد احترام واقع گشتند و با ترکیب این دو با نبوغ افراد ماهر این حرفه و نوآوری‌های جدید، رقص چهره جدیدی به خود گرفت (البته با گذشته کلاسیک خود).
رده:

رقص هندی

قس انگلیسی

Dance in India comprises the varied styles of dances in the country. As with other aspects of Indian culture, different forms of dances originated in different parts of India, developed according to the local traditions and also imbibed elements from other parts of the country.[1] Sangeet Natak Akademi, the national academy for performing arts, recognizes eight distinctive traditional dances as Indian classical dances, which might have origin in religious activities of distant past.

Folk dances are numerous in number and style, and vary according to the local tradition of the respective state, ethnic or geographic regions. Contemporary dances include refined and experimental fusions of classical, folk and Western forms. Dancing traditions of India has influence not only over the dances in the whole South Asia, but on the dancing forms of South East Asia as well. Dances in Indian films are often noted for their idiosyncrasies, and hold a significant presence in popular culture of the Indian subcontinent.[2][not in citation given]
Contents
Origin of Dance in India
Shiva as Nataraja is worshipped as the Lord of Dance in Hinduism.

In Hindu mythology, dance is believed to have been conceived by Brahma. Brahma inspired the sage Bharata Muni to write the Natya Shastra, a treatise on performing arts, from which a codified practice of dance and drama emerged.[3] He used pathya (words) from the Rigveda, abhinaya (gestures) from the Yajurveda, geet (music) from the Samaveda and rasa (emotions) from the Atharvaveda to form the Natyaveda (body of knowledge about dance).[4] The best-known of Hindu deities—Shiva, Kali and Krishna—are typically represented dancing.[5] Shiva's cosmic dance, tandava, Kali's dance of creation and destruction and Krishna's dance with the gopikas (cow-herd girls)—Rasa Lila—are popular motifs in Hindu mythology.[6]

In ancient India, there were no dedicated auditorium halls or theaters, and dance was usually a functional activity dedicated to worship, entertainment or leisure. Dancers usually performed in temples, on festive occasions and seasonal harvests. Dance was performed on a regular basis before deities as a form of worship.[7] Even in modern India, deities are invoked through religious folk dance forms from ancient times.[8] Classical dance forms such as Bharata Natyam use mudras or hand gestures also to retell episodes of mythological tales such as the slaying of Kaliya by Krishna.[9]

Gradually dancers, particularly from South India, moved from temples to houses of royal families where they performed exclusively for royalty.[10]

India offers a number of classical Indian dance forms, each of which can be traced to different parts of the country. Classical and folk dance forms also emerged from Indian traditions, epics and mythology.[11] There are many Indian folk dances such as Bhangra, Bihu, Ghumura Dance, Sambalpuri, Chhau and Garba and special dances observed in regional festivals such as Lohri[12] and Navratri.[13][14]

The presentation of Indian dance styles in film, Hindi Cinema, has exposed the range of dance in India to a global audience.[15]
Classical dance
Kathakali dancer
Main article: Indian classical dance

Classical dance in India has developed a type of dance-drama that is a form of a total theater. The dancer acts out a story almost exclusively through gestures. Most of the classical dances enact stories from Hindu mythology. [16] Each form represents the culture and ethos of a particular region or a group of people.[17]

The criteria for being considered as classical is the style's adherence to the guidelines laid down in Natyashastra, which explains the Indian art of acting. The Sangeet Natak Akademi currently confers classical status on eight Indian classical dance styles: Bharatanatyam (Tamil Nadu), Kathak (North India), Kathakali (Kerala), Kuchipudi (Andhra Pradesh), Manipuri (Manipur), Mohiniyattam (Kerala), Odissi (Orissa), and Sattriya (Assam).[18][19]

The tradition of dance has been codified in the Natyashastra and a performance is considered accomplished if it manages to evoke a rasa by invoking a particular bhava (emotion). Classical dance is distinguished from folk dance because it has been regulated by the rules of the Natyashastra and all classical dances are performed only in accordance with them. [20]
Bharatanatyam
Main article: Bharata Natyam

Dating back to 1000 BCE, Bharatanatyam is a classical dance form the South Indian state of Tamil Nadu, practiced predominantly in modern times by women. The dance is usually accompanied by classical Carnatic music.[21] Its inspirations come from the sculptures of the ancient temple of Chidambaram. It was codified and documented as a performing art in the 19th century by four brothers known as the Thanjavur Quartet whose musical compositions for dance form the bulk of the Bharatanatya repertoire even today.[22]
Kathakali
Main article: Kathakali

Kathakali (katha, “story”; kali, “performance”) is a highly stylized classical dance-drama form which originated from Kerala in the 17th century.[23] This classical dance form is particularly noticed for dancer's elaborate costume, towering head gear, billowing skirts, and long silver nails. Recent developments in Kathakali over the years include improved looks, refined gestures and added themes besides more ornate singing and precise drumming. Kathakali is performed regularly at festivals in temples, at cultural shows for connoisseurs and also at international events, occasionally in fusion dance experiments.[23] [22]
Kathak
Main article: Kathak

Originating from Uttar Pradesh, Kathak traces its origins to the nomadic bards of ancient northern India, known as Kathaks, or storytellers.[24] Its form today contains traces of temple and ritual dances, and the influence of the bhakti movement.[24] From the 16th century onwards it absorbed certain features of Persian dance and Central Asian dance which were imported by the royal courts of the Mughal era. There are three major schools or gharanas of Kathak from which performers today generally draw their lineage: the gharanas of Benares, Jaipur and Lucknow.tu65 kathak
Odissi
Main article: Odissi

Odissi, also known as Orissi (Oriya: ଓଡ଼ିଶୀ oṛiśī, Devnagari:ओड़िसी), is one of the eight classical dance forms of India. It originates from the state of Orissa, in eastern India. It is the oldest surviving dance form of India on the basis of archaeological evidences.[1][2] there are mainly three books of Odissi.The classic treatise of Indian dance, Natya Shastra, refers to it as Odra-Magadhi. 1st century BCE bas-reliefs in the hills of Udaygiri (near Bhubaneshwar) testify to its antiquity. It was suppressed under the British Raj, but has been reconstructed since India gained independence. 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[3][4] and upon the basic square stance known as Chauka or Chouka that symbolizes Lord Jagannath. This dance is characterized by various Bhangas (Stance), which involves stamping of the foot and striking various postures as seen in Indian sculptures. The common Bhangas are Bhanga, Abhanga, Atibhanga and Tribhanga.
Folk and tribal dance forms
Tutsa Dancers from Changlang district
Main article: Folk dance in India

Folk dances and plays in India retain significance rural areas as the expression of the daily work and rituals of village communities.[25] These dances have their roots in religious and seasonal festivals that have become a background for such celebrations. They are mostly performed in groups.[citation needed]

Sanskrit literature of medieval times describes several forms of group dances such as Hallisaka, Rasaka, Dand Rasaka and Charchari. The Natya Shastra defines group dances of women as a preliminary dance performed in prelude to a drama.[26]

Folk dances can be located according to the regions of their origin. Every state has its own folk dance forms like Garba, Gagari (dance), Ghodakhund in Gujarat, Kalbelia, Ghoomar, Rasiya in Rajasthan, Neyopa, Bacha Nagma in Jammu and Kashmir, Bhangra & Giddha in Punjab, Sambalpuri Dance in Western Orissa and likewise for each state and smaller regions in it.[3][27]
Contemporary dance
Four women wearing saree in different dancing poses
Dance accompanied by Rabindra Sangeet, a music genre started by Rabindranath Tagore.

Contemporary dance in India encompasses a wide range of dance activities currently performed in India. It includes choreography for Indian cinema, modern Indian ballet and experiments with existing classical and folk forms of dance by various artists.[28]

Uday Shankar is accredited as the pioneer of modern Indian dance. He was not trained in any classical dance form but developed his own style based on his study of Rajput and Mughal paintings.[29] Other well known proponents of modern dance in India include Ram Gopal, Mrinalini Sarabhai and Chandralekha. Poet Rabindranath Tagore developed a dance genre popularly known as Rabindra Nritya Natya—dance-dramas composed by him. These dance dramas and dances set on Rabindra sangeet (songs written by Tagore) are popular in Bengali culture.[citation needed]
Dance in films
Main articles: Hindi dance songs and Bollywood song and dance

Dance and song sequences have been an integral component of films across the country. With the introduction of sound to cinema in the film Alam Ara in 1931, choreographed dance sequences became ubiquitous in Hindi and other Indian films. [30]
A Bollywood dance performance in Bristol

Dance in early Hindi films was primarily modelled on classical Indian dance styles and particularly those of historic North Indian courtesans (tawaif), or folk dancers. Modern films often blend this earlier style with Western dance styles (MTV or in Broadway musicals), though it is not unusual to see western choreography and adapted classical dance numbers side by side in the same film. Typically, the hero or heroine performs with a troupe of supporting dancers. Many song-and-dance routines in Indian films feature dramatic shifts of location and/or changes of costume between verses of a song. It is popular for a hero and heroine to dance and sing a pas de deux (a French ballet term, meaning "dance of two") in beautiful natural surroundings or architecturally grand settings, referred to as a "picturisation".[31] Indian films have often used what are now called "item numbers" where a glamorous female figure performs a cameo. The choreography for such item numbers varies depending on the film's genre and situation. The film actress and dancer Helen was famous for her cabaret numbers. [32] The influence of the dance sequences of films on popular culture is significant, with amateur dancers often copying such dancing moves during celebratory events and performances, such as during wedding parties or other urbanized festivals.[citation needed]
Dance education

Traditionally, dance as a profession or a hobby was discouraged among upper classes and higher castes in India. It was looked upon as a lowly activity and women from reputed households were prohibited from practising any dance form. Hence, in forms like Bhavai[33] and Gotipua, men would take up the roles of female characters.[34]

Rukmini Devi Arundale revived the classical dance form Bharata Natyam and in its modern avatar, it became an acceptable subject of training for women.[35] Shiamak Davar, a noted Indian choreographer, started the Shiamak Davar Institute for Performing Arts in 1985 and it has over 25,000 members.[36]
Geographic spread

Some traditions of the Indian classical dance are practiced in the whole Indian subcontinent, including Pakistan and Bangladesh, with which India shares several other cultural traits. Indian mythologies play significant part in dance forms of countries in South East Asia, an example being the performances based on Ramayana in Javanese dances.[37]
Festivals

Sangeet Natak Akademi organizes dance festivals around India.[38]
References

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^ McFee, Graham (1994). The concept of dance education. Routledge. pp. 127–128. ISBN 978-0-415-08376-8. Retrieved 29 February 2012.
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^ Sinha, Aakriti (2006). Let's know dances of India (1st ed. ed.). New Delhi: Star Publications. ISBN 81-7650-097-6.
^ (Narayan p.10)
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^ editor; Ramchandani, vice president Dale Hoiberg; editor South Asia, Indu (2000). A to C (Abd Allah ibn al-Abbas to Cypress).. New Delhi: Encyclopædia Britannica (India). p. 13. ISBN 0-85229-760-2.
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Notes

Massey, Reginald (2004). "India's Dances: Their History, Technique, and Repertoire", Abhinav Publications, New Delhi, India.
Narayan, Shovanna (2005). “ The Sterling Book :Indian Classical Dance”, New Dawn Press Group, New Delhi, India.

External links

Archival footage of a discussion on Classical South Indian Dance and Western Audiences at Jacob's Pillow Dance Festival on August 9, 2008.
Media related to Dance of India at Wikimedia Commons

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