Indian Classical Dance 2023

Indian Classical Dance 2023: Hello friends, in my last article, I tried to share The Indian Classical Dance Forms, types of Indian Classical Dance, Choreography patterns, and changes in Classical Dance over the period.

In this article, I would like to share Indian Classical Dance Origin, history, and future.

The Indian Classical Dance Origin:

The origins of classical Indian Dance, particularly Bharatanatyam and Odissi, are artistic yoga (natya yoga) for revealing the spiritual through the corporeal.
Bharatanatyam is the most widely practised of Indian classical dances worldwide. It is the style that most faithfully adheres to the Bible of the classical Indian Dance, the Natya Shastra, and most comprehensively embodies it.
It is also the most ancient of all the classical dance forms in India.

The legend and the inspiration:

Gods and Godesses pleaded with Lord Brahma for another Veda to be created that would be simple for the commoner to understand, which is particularly important in Kali Yuga.
Granting their wish, Lord Brahma created the Panchamaveda, the Fifth Veda, or Natya Veda, a quintessence of the main four Vedas.

Brahma took pathya (words) from the Rigveda, abhinaya (communicative elements of the body movements, cf. mime) from the Yajurveda, geet (music and chant) from Samaveda, and rasa (vital sentiment and emotional element) from Atharvaveda to form the fifth Veda, Natya Veda.

After creating this Veda, Lord Brahma handed it to sage Bharata and asked him to propagate it on earth.
Obeying the fiat of Lord Brahma, sage Bharata wrote down Natyashastra.
Bharata and groups of the Gandharvas and Apsaras performed Natya, nritta, and nrtya before Siva.

It became the most authoritative text on the artistic technique of classical Indian dances, especially classical Indian dances of Bharatanatyam and Odissi.

History of Indian Classical Dance

The Natya Shastra reads, “When the world had become steeped in greed and desire, jealousy and anger, pleasure and pain, the people asked the Supreme One (Brahma) to create an entertainment which could be seen and heard by all, for the scriptures were not enjoyed by the masses, being too learned and ambiguous.”

“This art is not merely for your pleasure but exhibits cosmic expression (bhava) for all the worlds. This art has been created following the movements of the world in work and play, profit, peace, laughter, battle, and slaughter, yielding the fruit of righteousness to those who follow the moral law, restraint for the unruly, and discipline for the followers of the rule.

To create wisdom in the ignorant, learning in scholars, afford sport to kings, and endurance to the sorrow-stricken; it is replete with diverse moods, informed with varying passions of the soul, and linked to the deeds of humanity — the best, the middling and the low — affording excellent counsel pastime and all else.”

Religion and Indian Classical Dance

Bharata, the apsaras, and Gandharvas demonstrated Classical Indian Dance to Shiva, who improved and modified the art as Bharata showed and instructed the dance science to Thandu Maharishi.

This field of Dance derived the name Thandava, the Cosmic Dance of Shiva. Shiva instructed Lasya Natya to Parvathi, who passed it on to Usha, the daughter of Banasura.

Through Usha, this art form was passed on to the Gopis of Dwaraka, who, in turn, passed it on to the maidens of Sowrashtra.

As dancers, the Gods and the Goddesses have been passing the art of the cosmic Dance through many other human channels, whose aptitude, understanding, and personal idiosyncrasies naturally varied from person to person and created several styles ranging from Odissi to Bharatanatyam.

The classical Indian Dance of Bharatanatyam has undergone much change over the centuries.
It used to be and is still mostly performed by women dancers. Centuries ago, the Hindu temples in South India had dancers-priestesses called devadasis who would sing, dance Dasi Attam (an old version of classical Indian Dance), and play many musical instruments.

They were well-versed in Sanskrit and other languages as they had to adapt compositions to suit the audience.
The devadasi tradition gradually degraded. Initially, devadasis led a rigorous and celibate life and were not allowed to have a family.

Indian Classical Dance transformation

As the Dance entered the royal courts, the dancers were called Rajanartakis, who performed in the royal courts and gradually became royal concubines.
British colonial rule has completely corrupted the devadasi tradition.

In the first half of the 19th century, much of the classical Indian Dance of Bharatanatyam was redefined by the contributions of four talented brothers known today as the Tanjore Quartet: Chinniah, Sivanandam, Ponniah, and Vadivelu.
Styles of classical Indian Dance of Bharatanatyam were preserved in practice mostly by the guru and performers of the Isai Vellalar community of Tamil Nadu.
The Tanjore Quartet organized all the basic classical Indian Dance of Bharatanatyam movements of pure Dance into a progressive series, adavus.

Bharatanatyam Adavu

Each adavu is a basic unit taught in systematic order and then combined with others to produce choreographed classical Indian Dance of Bharatanatyam sequences based upon the rhythmic pattern of a musical composition.
The brothers composed new music for the classical Indian Dance of Bharatanatyam. They introduced a different sequence of items that integrated various aspects of Dance and music into a carefully coordinated, aesthetically sound progression.

This infusion of creative energy marks the early 19th century as one of the most innovative periods in the history of classical Indian Dance.
In the 20th century, such prominent personalities as Mangudi Dorairaja Iyer and Krishna Iyer made significant contributions.
The social status and image of classical Indian Dance were restored by Rukmini Devi Arundale, the founder of Kalakshetra, who started teaching a simplified, Kalakshetra style she invented after learning some of the Pandanallur types of classical Indian Dance of Bharatanatyam in a record three year.

Indian Classical Dance Future

Classical Indian Dance has changed but is still deeply rooted in the spiritual Hindu heritage. Contemporary classical Indian dancers are both male and female artists.
While most learn it as a hobby, very few make it their career and a lifestyle, as it is extremely demanding and complex in dedication and daily practice.
While most university degree courses offer a theoretical base in classical Indian Dance, some institutions offer certificate and diploma courses focusing on practical skills.

Most contemporary choreographers and dancers may use some formal classical Indian dance technique or its elements to stage ballets presenting themes such as nationalism, unity of religions, the sanctity of the environment, animal rights activism, the greatness of a king, or a political party.

The true classical 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.

Indian Classical Dance Origin, History, and the Future

Conclusion: In my next article, I will share more details on Bharatanatyam Mudras, Poses, etc.
Every tradition has a rich background; now, in the 21st century, Indian Classical Dance is struggling to gain popularity.
Youngsters, kids, and parents preferred to join Bollywood-style, Western-style dance classes over Indian Classical Dance Classes.
So, let’s learn our traditions and values and teach our new generation the importance and value of Indian Classical Dance.

In A Musical Harmony Interactive Online Dance Classes, we are not only emphasizing on basics of Indian Classical Dance (Theory or Practical), but we are providing a platform for students to perform and understand the art with their creativity.

To join Online Bharatnatyam Classes and learn Indian Classical Dance Choreography and Mudras.
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