2. • Dance may also be regarded as a
form of nonverbal communication
between humans, and is also
performed by other animals (bee
dance, patterns of behavior such
as a mating dance
3.
4. • Definitions of what constitutes dance are dependent on
social, cultural, aesthetic, artistic and moral constraints
and range from functional movement (such as folk
dance) to virtuoso techniques such as ballet. Dance can
be participatory, social or performed for an audience. It
can also be ceremonial, competitive or erotic. Dance
movements may be without significance in themselves,
such as in ballet or European folk dance, or have a
gestural vocabulary/symbolic system as in many Asian
dances. Dance can embody or express ideas, emotions
or tell a story.
5.
6. Indian dances
• Dance in India covers a
wide range of dance and
dance theatre forms, from
the ancient classical or
temple dance to folk and
modern styles.
8. Bharatnatyam
• BHA- Bhava (Expression), RA- Raga
(Music) and TA- Tala (Rhythm)
Bharatanatyam is a traditional dance-form
known for its grace, purity, tenderness,
and sculpturesque poses.
9.
10. • Bharatanatyam proper is a solo dance,
with two aspects, lasya, the graceful
feminine lines and movements, and
tandava Ananda Thandavam (Tamil) (the
dance of Shiva), masculine aspect, which
is identical to the Yin and Yang in the
Chinese culture.
11. Ardhnarishwar
• Both the aspects of Indian
classical dance LASYA
AND TANDVA
REPRESENTS masculinity
and feminine
characteristics. just like
representation of
Ardhnarishwar .
12. • In Shiva is said to have been revealed
both faces of dance - 'lasya' and 'tandava',
of which all subsequent dance forms were
offshoots. Lasya, the dance of aesthetic
delight revealed beauty, grace, love and
all tender aspects of existence
13. • The term lasya, in the context of Hindu
mythology, describes an extremely
feminine, graceful and fluid type of dance
that the goddess Parvati performed. It was
as a response to the male energy of the
cosmic dance of Tandava performed by
Shiva,
15. • The movements in Kuchipudi are quicksilver and
scintillating, rounded and fleet-footed. Performed
to classical Carnatic music, it shares many
common elements with Bharatanatyam. In its
solo exposition Kuchipudi numbers include
'jatiswaram' and 'tillana' whereas in nritya it has
several lyrical compositions reflecting the desire
of a devotee to merge with God - symbolically
the union of the soul with the super soul
17. • The cult of Radha and Krishna, particularly
the raslila, is central to its themes but the
dances, unusually, incorporate the
characteristic cymbals (kartal or manjira)
and double-headed drum (pung or
Manipuri mridang) of sankirtan into the
visual performance
18. The traditional Manipuri
dance style embodies
delicate, lyrical and
graceful movements. The
aim is to make rounded
movements and avoid
any jerks, sharp edges or
straight lines. It is this
which gives Manipuri
dance its undulating and
soft appearance.
19. • The musical accompaniment for Manipuri dance
comes from a percussion instrument called the
Pung, a singer, small cymbals, a stringed
instrument called the pena and wind instrument
such as a flute. The drummers are always male
artistes and, after learning to play the pung,
students are trained to dance with it while
drumming. This dance is known as Pung
cholom. The lyrics used in Manipuri are usually
from the classical poetry of Jayadeva, Vidyapati,
Chandidas, Govindadas or Gyandas and may be
in Sanskrit
20. Made by laxman singh
For teaching student of noida
Masters and bachelores
flaxman12@gmail.com
