Introduction
Considered one of the most developed art forms of Indian culture. The huge geographic area of the Indian subcontinent contains a great diversity of lands, climates, peoples, cultures and languages, which is reflected in its many styles of dance, from classical and folk to contemporary.
The Classics
The classical tradition is an ancient and sophisticated art form that spans several centuries. It has its origin in the temples and is performed by the devadasis (temple dancers). Classical styles are related to the mythology, philosophy, spiritual beliefs of Hindu culture and, in more recent times, to Islamic tradition. They have their roots in Natyasastra, the oldest known text on dramaturgy, attributed to Bharata, who in reality acted more as a researcher and compiler of very old works than as the inventor of the dramatic genre. According to the most accepted hypotheses, Natyasastra dates from the 3rd to 4th centuries AD; this Sanskrit treatise defines drama as the conjunction of speech, mime, dance and music and establishes its technical and aesthetic principles.
From the 2nd to the 8th century AD, there was significant diversification. Gradually, dance was dissociated from drama and different classical styles were born, which reflected the particular traditions of each region in which they emerged. However, all classical styles share the basic elements of nritta (pure dance), nritya (expression) and natya (dramatic element).
Within natya, abhinaya (expression of dramatic content through pantomime and gesture) takes different forms in each style, some being more exaggerated than others. The themes of abhinaya also vary, but each style affirms the teachings of navarasa, the nine moods or feelings:love, contempt, grief, anger, fear, valor, disgust, admiration, and peace. . These moods are classified in the Natyasastra, where the means of expressing them through the movements of the eyes, eyebrows, neck, hands and body are also described.
There are also two categories of movements that all Ailarinos can perform regardless of their gender:the tandava, the masculine and vigorous aspect of the dance, and the lasya, which represents the elegant and feminine side. All styles are performed barefoot, although in some of them ghungroos (ankle rattles) are used to increase the pace of the steps. The mudras (hand gestures), the stylized movements of the face and eyes and the complex rhythmic schemes are other characteristics of this dance.
Regionalism
Although they have developed their own technique and different presentations, the regional variants maintain the same basic rules and norms that appear in Natyasastra. There are differences in style that give a peculiar quality to each one. The main varieties are:
Bharata natyam:developed in the temples of Tamil Nadu in southern India. Contains a stimulating percussion flow. Space and movement are perceived along precise geometric lines, accentuated by fragile footwork.
Kathak:has its origins in traditional North Indian tales. It later flourished in the Hindu and Mongolian courts, where it morphed into the subtle and sophisticated form of today. The style is characterized by complex footwork and quick body turns.
Odissi:comes from eastern India. Its lyrical and fluid lines are punctuated by pauses, in which the dancers adopt sculptural poses, representations that can be seen on the walls of some temples.
Manipuri:is an elegant and smooth style that comes from Manipur, in northwest India. The dancers take small steps and jumps and the women wear stiff, long skirts. The legends about Krishna are the themes developed in the performances.
Kathakali:originated in Kerala, in southwest India. This vigorous and dramatic style is related to martial arts traditions. Uses mime, makeup and stylized clothing to represent characters from myths and legends.
Mohini Attam:also emerged in Kerala. The women dance dressed in white and gold. It is a mixture of natyam bharata and kathakali with doses of local folk dances, in particular kaikottikali.
Kuchipudi:gets its name from the people of Kuchipudi, in the southern state of Andhra Pradesh. It has many common elements with the natyam bharata and is vibrant and intense. It consists of individual balls and dramatic dances.
Folklore
Classical forms have many points of union with folk dance. Across the Indian subcontinent, there is an immense variety of folk dances:social dances to celebrate special occasions like marriages, dances for women and dances for men. The dancers dance and sing and the accompaniment of the drums is indispensable. Perhaps the best known folk dances are the energetic and vigorous bhangra from Punjab and the garba and dandia ras (step dance) from Gujarat.
Influences
Over the centuries, the dances of India have undergone different influences, which have had a great impact on their development. From the 12th to the 18th century AD, the Mongol empire flourished and later declined in the northern regions. Under the patronage of the emperors, the arts, especially music and painting, were stimulated in the courts. The kathak has evolved from the tradition of storytellers to the subtle and complex form of today. With the arrival of the British empire, dance, among other arts, suffered a temporal eclipse, especially in the places where the English protectorate was established. Due to the imposition of English schooling and Victorian values, dance was no longer promoted, especially among the middle class. Gradually, it fell out of favor and the devadasis were expelled from the temples.
However, in the first half of the 20th century, personalities such as Rabindranath Tagore, Rukmini Arundale and Uday Shankar fought tirelessly to revive the rich heritage of Indian classical dance. These people went to great lengths to make dance more prominent and laid the foundations for the spectacular renaissance of this art form after India regained its independence in 1947. Since then, an increasing number of dancers, teachers , Indian dance students and companies, as well as schools in India, Great Britain, North America and Australia.
In the same way that folk traditions and classical dance have been continued, in the last 50 years, contemporary dance and cinematographic dance have emerged. The latter became a popular art form and choreographers such as Mrinalini Sarabhai, Manjusri Chaki-Sircar, Chandralekha and Kumudini Lakhia developed a new language, creating modern works based on classical tradition and sometimes on contemporary themes.
In Great Britain, there is a long tradition of Indian dance. Uday Shankar worked with Anna Pavlova in the 1920s. Ram Gopal's tours in the 1950s continued with those undertaken by British companies from the 1970s. Shobana Jeyasingh opened a new field by working with Western composers and choreographers such as Michael Nyman and Richard Alston, and with contemporary Indian theater companies and choreographers, creating innovative and challenging ways to convey Indian classicism to the general public.