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Diversity in dance
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A comparative study of various dance forms in India.
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Nurtured for centuries, dance in India has evolved into different forms, with distinct style of its own, depending on the culture of that particular region, despite regional variations. All forms have historic background for their evolution. It is we
ll known that ‘Bharata Natya Sastra’ is rudimental to a single form of dance as envisaged by Bharatamuni, who laid certain principles, right from ‘angaharas’ to ‘Mudras’, even taking into account entrance and exit of the artistes. As India was subjected to different rules especially by different Fiefdoms and Zamindaris and later of Moghuls, this dance art too gained different colours and shapes, yet sticking to Bharata Sastra’s basic principles. P. Ramadevi an exponent of Kuchipudi art, an academician and author of some books on dance, has set on a mission to present a comparative picture of all these forms which are about seven in number - Kuchipudi, Bharatanatyam, Kathak, Kathakali, Mohiniattam, Odissi and Manipuri, divided into two main streams – ‘Natyamela’ (male oriented) and ‘Nattuva mela’ (female oriented). And a programme, named ‘Saptha Nrithyamanjari’, was staged at Shilparamam, under the aegis of Sai Nataraja Kuchipudi Academy. Rama Devi choreographed this dance ballet, connecting all these dance forms. However, in place of Manipuri she introduced ‘Kerala Natanam’, a recently developed dance form of Kerala. The artistes who took part were A.P. Nivedita (Kuchipudi), Bharatanjali Madhusudan (Kerala Natanam), Devulapalli Uma (Bharatanatyam), Sanjay Joshi (Kathak), Sonali (Odissi) and Priyanka Das (Mohini Attam). It was a show of experimental nature that is worth repeating, for its comparative study of different Indian classical dance styles.
G.S.
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Friday Review
Bangalore
Chennai and Tamil Nadu
Delhi
Hyderabad
Thiruvananthapuram
|
