Indian Dance 2

Project 1 - Review paper Writing the Paper Observe and write an analytic reaction paper of either (a) an Indian dance performance or (b) an assigned videotape of a dance performance. Must be typed and well-written.

"Must be at least two pages, double-spaced "Direct the essay to a selected audience. "State the facts: what style of dance, where it was performed, at what time, length of show, name of choreographer, etc. Grab a program sheet at the show and retain it for this kind of information. "Describe the performance in graphic details that communicate your experience as visually as possible. Recreate the basic experience for your reader. "Respond critically. Feel free to voice opinions and justify them. *Note that obvious cultural bias or prejudice are not included as justification. "Summarize the experience. or stay at home.

Motivate your reader to either go to the performance

. Guidelines for Writing Reviews Before the peformance try to maintain a fresh, open attitude to help minimize bias. Prepare and take with you a checklist to help capture description: colors, costume, make-up, kinetic (i.e. body) movement, use of space, use of time (i.e. rhythm), music/poetry etc. Jot things down for later analysis. After the performance ask yourself the following questions; allowing this process to guide the composition of your paper: . 1. Did the performance provoke your assumptions about movement? assumptions? How? 2.

What

What were your viceral or gut responses...wonderment, revulsion?

Why? _ 3.

Did some dance segments stand out more than others? Why?

4. moving you? Why?

Were some dancers better at grabbing your attention or

5. What connections did you find between the performance and socio-cultural history of the dance?

SOME FEATURES OF INDIAN DANCE

' 1. Indian dance flourished in and around temples in its formative past. 2. Rhythm carries several symbolic meanings that have implications for the way dance is perceived. Because it is cyclic, rhythm symbolizes the philosophic theme of infinity. It is highlighted by the dancers bare feet encircled by ankle bells stamping out gravity-reverberating cyclic patterns on the floor. 3. The body as a whole is viewed as a complex bone structure. This paradigm results in an examination of the body as a potential resource for movements. Micromovements of the shoulders, neck, fingers and eyes are hence an important aspect of the dance. The focus on hands, for example, has produced an infinitely rich dictionary of hand gestures or 'hasta mudras'. The hand gesture code is used both to embellish abstract dance as well as to tell the narrative underlying dance. 4. Space is viewed m four specific areas: A. The kinectic space of the dancer. B.

The stage space.

C.

The psychological or 'inner' space.

• D.

The outer, mystic space transcending the immediate stage space.

Other key points are: the manipulation of body weight in movement to accentuate gravity. Movement is punctuated by still poses that are visible in and around temple sculptures.

5. Themes frequently used are typically drawn from two well known Hindu epics, the Ramayana and the Mahabharata. 6.

The poetry is derived from the classical literature of India.

ADAVUS

There are over a dozen classical dance forms in India. Each is characterized by

distinctive

linguistic, geographic and structural features. However, all the styles approach dance as a dual combination of pure technique Nritta - and expressive dance- Nritya. The majority of dance styles ( mainly South Indian) further rely on ' basic dance drills- Adavus - that underlie Nritta . The profusion of forms is matched by a multiplicity of Adavus. Even within a single style there are various schools; the way in which Adavus are performed, classified and understood, vary from guru to guru. Adavus are the bedrock of Indian dance, it is only by perfecting this movement vocabulary that mastery over the language of dance is achieved. Some Pefinitiops

In Adavus the movement pattern is first executed on the right side and then repeated on the left side. They are set to a tola or rhythmic design and laya or tempo. Laya consists of three types, . slow, medium and fast. Adavus are executed to rhythmic syllables or mnemonics called Shollakattu. Several adavus woven together constitute a Jathi, which are then employed in both nritta and nritya dance compositions. Jathis are supposed to be aesthetically pleasing both visually and orally. As the feet of the dancer translates the Shollakattu, the person who verbalizes the rhythmic dance commands is called the \attawunur. GLOSSARY OF INDIAN DANCE

ABHINAYA:

Mimetic dance representing a theme or emotion to the audience through

movement. Nritta: Nritya:

Pure or abstract dance Emotional or expressive dance.

Nataraja: Shiva as the cosmic dancer. Natya:

Combination of both dance and acting.

Guru:

A teacher. In Sanskrit, 'immense'.

Devadasi: A dancer dedicated to God The now obsolete tradition of consecrating dancers to temple patronage. Rasa:

Bliss, transcendant rapture in experiencing dance and other arts.

Sanskrit:

Classical Indian language.

Natya Shastra: The most important Sanskrit treatise on dramaturgy by Bharata Muni. Written between 3rd century B.C. and 2nd century A.D. Abhinaya Darpana: 1000 AD. dissertation on dance Tala: Time measure of eight, ten or thirteen beats. It is circular and repetitive in character. Lava: Tempo. Samam: The first accented beat of a recurring cyclic time pattern Aavartan: One complete cycle of a particular 'tala' design Bhakti – means devotional love for a personal Lord one worships. This bhakti is yoga, a means to attain salvation. This concept was expressed in Bhagvat Gita part of the epic ‘Mahabharata’Vedas – are the earliest scriptures of Hindus. There are 4 Vedas Rig Veda, Sam Veda, Yajur Veda and Atharva Veda. They date from about 2000 B.C. Caste – refers to the Hindu society divided into 4 hierarchical groups. 1st . Brahmin or the priest philosopher. 2nd . Kshatriya - ruler administrator is the next group. 3rd . Vaishya refers to the traders, merchants etc. 4th . The Shudras or lower caste doing menial labor and serving the other caste. Ganesha- elephant headed god also known as Ganapati. He is Shiva and Uma’s son and quells all obstacles from one’s path. So he is invoked at the beginning of ventures.

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Project 2 - Oral Presentation

Oral Presentation Duration: 6 minutes Question: Please explain whether or not the concept of feminine divinity (as expressed in Hindu thought) is an empowering idea for today's woman. Does Indian Classical dance become a constructive tool for an immigrant woman? Outline A Thesis Statement Yes, the concept of the Goddess is empowering for contemporary women. _, support: • Although it is rooted in ancient Vedic texts and is thousands of years old, the concept of Goddess (i.e. Devi) continues to be a vital influence - pervading Indian myth, art, popular culture and current religious and philosophical thought. • and

The idea of feminine divinity, which has expression even in western myths

Native American myths, can energize not just women of Indian origin but others; rendering strength to the psyche.

• Even thought women have acquired many freedoms denied to them traditionally, the burdens of juggling work, family, and community remain. The spiritual/ psychological comfort offered by the Goddess concept is still relevant. • Evident in the works of poets- such as Mahadevi Akka- and choreographers-such as Chandralekha- is the Goddess as a challenge to patriarchal traditions. This feminist perspective is relevant in the immigrant community where women continue to struggle against patriarchal structures. Conclusion Outline B Thesis Statement No, the concept of the Goddess is not empowering, it is weakening to a woman of the 20th Century. Support:

The elevation of the Goddess as a nurturer-rather than the powerful warrior/"shakti"- is a symbolic tool used by patriarchal structures to exploit women even today. Examples are. . . • The placing of women on a pedestal as "Goddess" is a dubious honor at best. A women is expected to be perfect-fte ideal "caregiver, nurturer, wife, mother." She is essentially stopped from being human and is manipulated by both the immediate family and society at large. •

The classical dance styles are too graceful, "feminine" to be capable of

communicating issues of real substance or radical content.

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Project 3 - Lab

Jathi: A Rhythmic Passage A Jathi is defined as a rhythmic passage. The following Jathi is set to Aditala, a cycle of eight beats (4 + 2 + 2 = 8). (This Aditala is set in “chaturashra jathi” in which each beat contains 4 inherent counts.)

Outline of Taka dhimi Jathi

[1. Takadhimi Taka dhimi

4 Takajhanu

[5. Taka dhimi Tah kirtaka

8 Teyyi

[ 1. Takadhimi Tah kirtaka

4.Teyyi_

[ 5. Taka dhimi Tah kirtaka

8. Teyyi

1. Tahkirtaka 4. Teyyi_ 5.

kirtak teyyi

2. Takajhanu

3.

6. Taka jhanu

7.

2. Takajhanu

3.

6. Takajhanu

7.

] ] X 2

] ]

2. Teyyi_ 6. Kirtak teyyi

3. Tah kirtaka 7. Kirtak teyyi

8. Kirtak teyyi

1. Kirtak teyyi 4. Kirtak teyyi

2. Tat kirtak

3. Teyyitah

5. Kirtak teyyi 8. Kirtak teyyi

6. Tat kirtak

7. Teyyitah

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Lab

Notes for final movement presentation from the repertoire of Devi Dance Theatre Choice A 1.

“Walk the Sky”

Poem by – Mahadevi Akka“Walk the Sky” took its inspiration from Mahadevi Akka’s poem called ‘Vachanas’. An extraordinary woman for her times in 12th century feudal India, Mahadevi Akka has recently been reclaimed by contemporary feminists. Language - Kannada Music – Contemporary classical Indian Conceived and researched by Nilimma Devi Scripted by Anila Kumari Choreography – Nilimma Devi, Anila Kumari & Khilton Nongmaithen

Poem by Mahadevi Akka You can confiscate money in hand; Can you confiscate the body’s glory? Or peel away every

strip you wear, But can you peel the Nothing, the Nakedness that covers and veils? To the shameless girl wearing the White Jasmine Lord’s light of morning, where’s the need for cover and jewel? Choice B 2.

“Mandala – A Voyage Within”

Poem by Mettika - a Budhist nun that is found in “Therigatha”- a collection of poems from 6th Century B.C. “Mandala” in Sanskrit means ‘essence contained.’ Mandalas are graphic designs to develop mental force. This work was inspired by the Tibetan Mandalas and the Pali poem. The Buddhist poem has been turned into a visual feast combining the lyricism of classical Kuchipudi dance and the dynamic strokes of Thang-Ta – a rare form of martial arts. The poem is the earliest known anthology of women’s literature in India, and perhaps in the world. This anthology is comprised of a collection of songs composed by Buddhist nuns written in the Pali language in Sixth Century B.C. The poignant autobiographical poems recount a soul’s journey through grief to ultimate liberation. The authors of these exquisite lyrics sought truth neither in social conformity, nor in moral law, but rather in uncharted journeys of selfhood. Each poem is an autobiographical epiphany of soul. Language – Pali (Spoken form of Sanskrit) Music – Contemporary classical Indian Conceived and researched by Nilimma Devi Scripted by Anila Kumari Choreography - Nilimma Devi, Anila Kumari & Khilton Nongmaithen Poem By Mettaka Learning on my staff

I climb this mountain path It has been my arduous journey and it is true, my youthful step is long gone But I have preserved past boulders to reach the peak At last, casting off my cloak, I sit here alone as the breath of spirit blows over me I am free. Devi Dance Theatre For more than two decades, Devi Dance Theater has created classical Indian dance that is rich in innovative and evocative visual imagery. It has forged new alliances between music and dance; tradition and the cutting edge. The company grew in its art form by creating works such as “Diary of Sita” - Devi Dance Theatre explores Sita-classical heroine and effulgent daughter of Earth. Provoked by the idea of Sita as silent, submissive paragon, Sita’s Diary delves in to traditional myth and moves it to a new frontier of interpretation. Not a mute mannequin – nor a stoic wife – Sita is brought to the stage as a strong, divine presence worthy of emulation. Devi Dance Theatre explores Spirituals by using Kuchipudi dance idiom to the lyrics of–Long White Robe and Swing Sweet Low Chariot - Devi Dance Theatre portfolio also includes ‘Gossamer of Soul’ – a 16th Century mystic poem by Kabir that exalts the God as divine weaver, ‘Water under duress’ which touches on the sacredness of our waters and environmental pollution. Note: “Not familiar with the Indian classical dance style Kuchipudi? Go see Devi Dance Theatre anyway…The number and complexity of the movement vocabulary created by Devi is so impressive that it never grew boring” - Washington Post

Nilimma Devi’s “Walk the Sky”: Poetry in Motion - LisaTraiger, Washington Post 2002.