about dance culture of Bangladesh

1. Assignment On
Dance In Bangladesh
Submitted to: Submitted by: Nafisa Ellahi
Submission date: Course title: Bangladesh Studies
ID:2016-2-17-006

2. Definition and classification of dance:
 Dance is a psycho-physiological expression of mood and emotion. Dance and
language and inner emotion share a common thread. Temporally, dance in
Bangladesh may be explained in four phases, such as
 1. dance in ancient Bengal
 2. dance in medieval Bengal
 3. dance during colonial era
 4. dance in post colonial era.

3.  The art of dancing has flourished in the orient in
three ways, viz. Natya (drama), Nritta
(monotonous dance), and Nritya (dance). Natya
implies expressing one's thoughts through
words and gestures. Nritya means dancing
rhythmically without expressing any emotion.
Nritya implies display of elegant artistic
postures with beats and rhythms. The ancient
art of dancing can be divided into three
categories. These are: dance of small ethnic
groups, scriptural or classical dance, and folk
dance. The dance of small ethnic groups takes
place on the occasion of festivals. The
scriptural or classical dance has methodological
grammar which has to be applied formally. On
the other hand, the objective of folk dance is to
entertain the audience. As against the classical
dance, no procedural rigidity is observed in
case of folk dance. In addition, modern and
contemporary varieties of dances are observed
in different countries of the world. These dances
are primarily mixed creations; no specific
grammar is followed in presenting them.
ndus Valley artefact of dancing girl
ndus Valley artefact of dancing girl

4. Harappa and Mohevjo-Daro were the principal sites of Indus
civilization in the Indian subcontinent. Beautiful statues, clay dolls,
Indian lute, bamboo-flute and tabor have been found in Harappa
and Mohenjo-Daro civilization indicating existence modes at the
time. The female dancing statues found at Mohenjo-Daro prove the
ancient antecedence of the art of dancing in the subcontinent.
Evidence of dancing has also been found in the Rig-Veda (oldest),
Yajur-Veda, Sama-Veda and Atharva-Veda. The goddess Usha was
compared with a dancer in the Rig-Veda. The king of gods, Indra
was himself a dancer. Atharva-Veda mentions about vocal and
instrumental music as well as dancing. The classical and folk
categories of dances had their origin in the Sama-Veda.

5. DURING THE AGE OF THE PURANAS, THE MYTHOLOGICAL FAIRIES DESCRIBED IN
THE RAMAYANA OF VALMIKI WERE INVOLVED IN DANCING. IT IS CONJECTURED THAT
BOTH RAMA AND RAVANA WERE EXPERTS IN DANCING. BUT 'DRAMA' AND 'DANCE'
WERE VARIOUSLY PROJECTED IN THE RAMAYANA. THE MAHABHARATA compiled by
Vedabyasa mentions that Ghritachi, Menoka, Rambha, Shayamprova,
Urvashi and Misrakeshi were fairies. The book also discussed about singers,
dancers, drummers, hymns, deva-dunduvi, conch-bangle, lute, flute, tabor,
rhythm and beat. Later, the Harivangsha Purana compiled by Jinsena
Harivangsha (approximately 200 BC) spoke about Ras, Chhalikya and
Asarita. The Ras was one of the main heritage of the Monipuri style of dance.
The Parasharya-shilalivyang Bhikkhunatasutrayo written by Panini in the fifth
century BC and the Arthashastra written by Kautilya have mentioned the themes
of physical acting, music and dance of the dancers. At that time, women used to
stage dramas and dances. There were also arrangements for their state-
sponsored training. According to the Kamasutra written by Vatsayana
(approximately 200 BC), at least 8 forms of art out of a total of 64 were related to
music and dance. These were: songs, dances, instrumental music, dramas,
painting, dressing and make-ups, knowledge of rhythms, and knowledge of
physical exertions

6. DURING THE CLASSICAL ERA, THE NATYASHASTRA BY BHARATMUNI PRESENTED THE GRAMMATICAL
FORM OF DANCE AND DRAMA. ON THE OTHER HAND, ABHINOY-DURPUN (13TH CENTURY) BY
NANDIKEXWAR DESCRIBES DANCE AND DRAMA IN THEIR PURE FORMS. EVIDENCES OF ANCIENT ART
OF DANCE ARE ALSO AVAILABLE IN THE BOOK MRICHCHHA-KATIK WRITTEN BY SHUDRAK. IT
NARRATES THE ENTRY OF AN ARTIST ON THE STAGE ACCOMPANIED BY THE SOUNDS OF KANSATAL
OR METALLIC CYMBALS. THE NRITYARATNAVALI BY JOYASENA AND SANGEET UPANISHAT
SWARDHARA BY BHAJANACHARYA SUDHAKALA REPRESENT THE HERITAGE OF JAINA MUSIC AND
DANCE LITERATURE. ABHINAYACHANDRIKA OF MAHESWAR MAHAPATRA OF ORISSA, SANGEET
DAMODAR OF PUNDIT RAGHUNATH, SANGEET NARAYAN OF GAJAPATI NARAYAN DEV, SRIHASTA
MUKTAVALI OF PUNDIT SHUBHANKAR (FOUND IN ASSAM), NRITYARATNAKOSH OF KUMBHAKARNA OF
RAJSTHAN AND SANGEET MALLIKA OF MOHAMMAD SHAH OF CENTRAL INDIA PROVIDE VARIOUS
EVIDENCES OF DANCING.
THE DOMBIS DESCRIBED IN THE CHARYAPADA WERE ADEPT IN DANCING AND SINGING. THE
CHARYAPADA MENTIONS ABOUT VARIOUS MUSICAL INSTRUMENTS OF ANCIENT BENGAL, SUCH
AS EKTARA, HERUK, VINA, DOMRU, DAMRULI, BANSHI, MADAL, pat etc. The 17 charyas written by
Vinapa (9th century) mentioned about the dance-display by Bajracharya as well as the drama
Buddha.
In ancient times, dramas were primarily displayed in the form of dance. It can therefore be
assumed that dance was an integral part in the drama Buddha or Tumburu. The folk
traditions in acting, food, dances and dramas of that era has been depicted on the clay-plates
discovered in Paharpur and Mainamati. The 10 stanzas composed by kahnapa speak of the
expert Dombi dancer standing on 64 petals of a lotus, the documentary evidence of which is
still preserved in Paharpur.

7. THESE TERRACOTTA PICTURES DISPLAY FEMALE DANCERS
WEARING VARIOUS ORNAMENTS IN EAR, NECK, HAND AND
FEET. TWO ROOMS WERE DISCOVERED AT THE SITE MEANT
FOR PRESENTATION OF DANCES. AMONG THE COMPOSERS OF
CHARYAPADA WERE AT LEAST TWO BHIKKHU OR
SIDDHACHARYA LIVING AT PAHARPUR Buddha Vihara. There
is no written document on the art of dance of the
Babgalis. It is only during the time of the charyapadas
(650-1200 AD) that evidences of dance, songs and
dramas in ancient Bengal are available. The proofs of
continuity of the history of dances, dance-skills,
excellence of theme, mode of presentation in Bengal are
found in various legends, deeds of gods and goddesses
in narration and presentation of songs in the gatherings of
the Dervishes. At that time, the Gorkh-dance emerged in
Bengal on the basis of animist theories of the followers of
Natha cult. The theme of this dance was play-acting by
Guru and disciple. Gorkh dance applied a dancing
technique in which the dancer used of display dance
standing on the toes. This technique is observed in the
display of dance in Bharatnatyam style. Drums and skirt-
like dresses (ghagri) were used in Gorkh dance. Ghagri
was basically a dress of the Rajasthani women. Ghagri is
used in Kathak dance.
Terracotta design in Somapura Vihara