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Kathak and odissi
1.
2. INTRODUCTION
Kathak is the traditional art form of Uttar
Pradesh
The word kathak originated from the word
which means katha meaning as story
Kathakars are people who portrays the stories
based on epics with various gestures with the
accompanying of music.
3. EVOLUTION
The bhakti movement and vaishnavite cult can
be considered as a major factors which
contributed to the evolution.
After Mughal Invasion it transformed into a
court dance from temple dance.
Persian style with regard to costumes and
gestures became dominant.
4. ELEMENTS
Elements of kathak are mostly recital
1. Thaat: It is associated with soft and different types of
movements.
2. Jugalbandhi: It is a competitive performance between
the dancer and tabla player.
3. Tarana: Pure rhythmic movements before the end is
called tarana.
4. Gat Bhaav: Mytholgical chapters are presented
without music or chanting.
5. VARIOUS GHARANAS THAT DEVELOPED WERE
1.Lucknow: Developed under Nawab Wajid Ali
Khan; Focus more on expression and grace.
2. Jaipur: started by Bhanuji;importance on speed
and long rhythmic patterns.
3. Banaras: Janaki prasad made it famous; focus
more on floorwork and symmetry.
6. (Vandana) dancer coming to stage and offering
respect to his or her guru and the musicians on the
stage.
Hindu tradition, the dancer(s) combine facial
expressions and hand gestures (mudra) to invoke
Hindu gods and goddesses
Muslim performance replace the devotional
expressions with a salami (salutation).
TWO TYPES: NRITTA &NRITYA
• Nritta: Pure movement. focus on motion,
form, speed, range and pattern. It aims to
engage the senses (prakriti) of the
audience.
• Nritya: Include words, musical notes and
gestures to articulate a legend or message.
engage the emotions and mind of the
viewer.
12. INTRODUCTION
Odissi also referred to as Orissi in older literature.
Originated in the Hindu temples of Odisha – an eastern coastal state
of India.
Derived the name from Odrha Nritya as mentioned in Natya shastra.
Earliest evidence of odissi dance were found at the caves of
Kandigir-udayagiri.
Odissi is traditionally a dance-drama genre of performance art.
The artist(s) and musicians play out a mythical story, a spiritual
message or devotional poem from the Hindu texts.
Like all classical Indian dances, includes Nritta (pure dance, solo),
Nritya (dance with emotions, solo) and Natya (dramatic dance,
group).
13. EVOLUTION
In the beginning, Maharis types was famous and was
supported by the Jain king Kharvela.
Mahari system lost the fame because of the presence of
Vaishnavism.
Later Gotipuas became famous where young boys used to
dress up as female.
Nartala type originated to perform at royal courts.
Geeta Govinda by Jayadeva was adopted as major themes
during the initial period.
During 12th century Charles Fabri and Indrani Rehman gave
odissi a global fame.
14. STYLES
1. Maharis: Performed by Oriya devadasis
or temple girls, This style is more
sensuous and closer to the classical
Sanskrit texts on dance, music and
performance arts.
2. Gotipuas : Boys dressed up as girls and
taught the dance by the Maharis. This
style included martial arts, athletics and
acrobatics.
3. Nartaki: Dance took place in the royal
courts, where it was prevalent before the
British period.
Maharis
Gotipua
Nartaki
15. ELEMENTS
Mangala charan: Opening act where dancer
comes up with flower and offer it to the mother
earth.
Batu Nritya: It includes both nrita and nritya.
Pallavi: Includes music, facial expressions and
dance moves.
Moksha: Concluding act where Pallavi and
abhinaya is used to show the aspect of liberation.
Tharijham: Pure dance before the conclusion
Moksha: Concluding item of a recital.
Performance aspects of Odissi are mentioned in
Natya Shastra, Abhinaya Darpana and the 16th-
century Abhinaya Chandrika by Maheshwara
Mahapatra of Odisha.
16. 3 PRIMARY DANCE POSITIONS
1. Samabhanga – the square position, with
weight equally placed on the two legs, spine
straight, arms raised up with elbows bent.
2. Abhanga – the body weight shifts from side to
side, due to deep leg bends, while the feet and
knees are turned outwards, and one hip
extending sideways.
3. Tribhanga – is an S-shaped three-fold bending
of body, with torso deflecting in one direction
while the head and hips deflecting in the
opposite direction of torso.
MUDRAS OR HASTAS.
1. Asamyukta Hasta – Single hand Mudras
– 28 Prakar (gestures, for instance to
communicate a salute, prayer, embrace,
energy, bond, swing, carriage, shell,
arrow, holding a thing, wheel, and so
on.)
2. Samyukta Hasta – Double hand Mudras
– 24 Prakar (gestures, for instance to
indicate a flag, flower, type of bird or
animal, moon, action like grasping, and
so on.)
3. Nrutya Hasta – “Pure Dance” Mudras
17. COSTUMES
The Saree worn by Odissi dancers are coloured,
and usually of local silk (Pattasari).
The jewellery includes silver pieces, a metal
favored in regional tradition.
The dancers forehead is marked with Tikka, and
adorned with various jewelry such as the Allaka
(head piece on which the tikka hangs).
The dancer wears a pair of armlets also called
Bahichudi or Bajuband, on the upper arm. The
wrist is covered with Kankana (bangles).
The dancer's palms and soles may be painted
with red coloured dye called the Alta.
hairstyle may contain a moon shaped crest of
white flowers,[73] or a reed crown called
Mukoot with peacock feathers (symbolism for
Lord Krishna).
18. MUSIC & INSTRUMENTS
Odissi dance is accompanied
by Odissi music.
Odissi ragas are Kalyana, Nata,
Shree Gowda, Baradi,
Panchama, Dhanashri,
Karnata, Bhairavee and
Shokabaradi.
Blends Carnatic and
Hindustani music.
Madla
Sithar
Harmonium
Manjira
