South Indian Dances

One of the ancient classical forms of dances is Thandavam. Three great Hindu deities, like Lord Shiva, Kali, Krishna and Murugan are normally represented dancing. According to the Vedas this dance was composed by the Sage Directors and sage called Bharatha, the sage musician, and at that particular time they say Lord Brahma created nymphs.

Thandavam classical dance accumulates its epithet from Thandu, the angelic attendant of Lord Shiva. Apart from it another dance Karanam is a dance in which gestures, steps and attitudes are adduced in harmony through the rhythmic movements.

The attention of South Indian classical dances worldwide is analytical of a typical deep-felt could do with one's body to interact and commemorate the truly amazing universal truths. South Indian classical dances do exactly that in a finely tuned, reverent form. Also, since dance is physical and visual art, it elucidates India's culture within a manner, playing on the responsiveness of a typical viewer.

Therefore, individuals who are curious about India will likely find the tradition of dance the most productive preamble to India's colorful ethos and traditions.

The attention of South Indian classical dances worldwide is analytical of a typical deep-felt could do with one's body to interact and commemorate the truly amazing universal truths. South Indian classical dances do exactly that in a finely tuned, reverent form. Also, since dance is physical and visual art, it elucidates India's culture within a manner, playing on the responsiveness of a typical viewer.

Therefore, individuals who are curious about India will likely find the tradition of dance the most productive preamble to India's colorful ethos and traditions.

South India witnessed a sudden burst of temple building in the 9th and the 10th centuries which brought with it a similar increase of interest in the temple related arts like music and dances.

The class of musicians and dancers known as Devadasis (servants of god) have the benefit of high status and prosperity at this time and were optimistic in their art "Dasi-attam". Many Devadasis may have been bright and able artists.

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A Tanjore inscriptions made to order by the great Emperor Rajaraja Chola (1004 A.D) refers to 400 Devadasis who were annexed to the Big Temple, acquired free quarters of accommodation on four neighboring streets, and were sanctioned tax-free land out of the temple's income.

By the cessation of the 19th century there were no longer cherished members of the Devadasi - South Indian social community. It took the collective passion of Christian missionaries and morality-conscious Indians to finally tip the balance against Devadasis. In this period, many prostitutes on the fringe of the Devadasi identity had taken up "stage - dancing", a deprived and evidently sexual version of the classical dance, to attract their business.

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An arrangements of six or more dances of a typical type were constitute Angaharams. The records of such dances will be found from the temples in South India facilitating the images of Lord Shiva. These classical styles of dances were drastically communal of those times. From each of such dances there have been given rhythmic expressions and mimicry.

They exerted to give you a good assumption of moods, sentiments and thoughts taking advantage of gestures, facial expressions and movements of a typical body. Constantly, the activities of the hands, any particular meaning as well as the gesture of the head gave a lot of other content honoring emotions, and moods.

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The movement of the eyeballs as has been pointed out express permanent sentiments. In all there are eight movements of the eyeballs representing eight permanent sentiments known as Rasas. In these dances use of symbolism and gestures is made. Some of the writers have pointed out that gestures were first devised "to evoke spiritual moods through ceremonial acts, imaginative performance as rituals". Similarly symbolism is to give some intellectual appeal to the spectators.

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Many different South Indian Dance forms like Bharathanatyam, Kathakali, Mohiniattam, Kuchipudi etc. which have developed to set guidelines that were actually followed convention through the years. At the basic pattern, different Gurus integrated their very own imaginative innovations, inflicting different schools inside of a particular dance form. In addition to the dance steps, courteous hand & leg postures & movements, the Dancers need to gain the skill of exposing various emotions faithfully in each expression on the face & each flowing movement of their hand, legs & as a matter of fact their full body. Every part expresses some meaning in his or her graceful motion.

In addition to these classical dances, South Indian culture is widely known the frilly dance forms like - Kummi, Kolattam, Karagattam, Koodiyattam, Oyilattam, Theyyam, Bhuta Kola, Ottamthullal, Oppana, Kerala Natanam and Yakshagana etc.

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There are very subtle movements of the different parts of the body. It may have different forms like Vandanam and Alarippu. Vandanam is almost an invocation to the Gods, the earth and the dance masters. Alarippu is a ritual dance. Then there is also Sabdham which is a song of praise addressed to a deity or a kind.

Thillana is a joyous fantasy and is considered to be perhaps the most graceful and the lyrical of all the styles of Bharatha Natyam. It also includes Varnam gestures, songs and ritual dances.

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A different type of dresses are costumed for theses dances. It has also been pointed out that Natyam is "a poem made visible." Here the artistic analogy of all four kinds, gestures, arts, costume make-up and temperament plays their role. The considerable role is played by the hands because the concepts are conveyed through the moments of hands.

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Bharatha Natyam is the classical dance, which performed during the days of Chera, Chola, Pandya and Pallava kings. This dance performance was considered a holy offering by the dancers. It is said that the first dance performance of Bharatha Natyam got her the title of Talaikile from the king in whose presence it was performed. This type of dance in its pure form interprets the language of rhythm and melody in curves, angles and other movements. 'Adavus' are the building blocks of Bharathanatyam. There are distinctive types of adavus and the terminology or naming also varies according to the style or Pani. There are several styles or tradition of Bharathanatyam, the most familiar of which being the Vazhuvoor, Kalakshetra, Pandanallur, Mysore and Thanjavur styles. Similarly, there are some movements and poses of the acts but the characteristic pose of this type of dance is the deep knee bend. The pace of timings in the dance is Jwathi (Jathiswaram) and there are five kinds of Jwathis which are said to emanate from the five faces of Lord Shiva. There are three speeds and timings of dance. The beauty of the dance lies in the movement of the neck and the rhythmic influence of the breast.

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Devarattam is a folk dance of Tamil Nadu still conserved by the descendents of the Mighty King Veerapandiya Kattabomman dynasty at Kodangipatti in south Tamil Nadu. It was presented once in a year nears the temple and that too limited to that particular community alone. Research scholars have found that Devarattam is a mixture of ancient 'muntherkuruvai' and 'pintherkuruvai' of the ancient Tamil Kings. It was performed in front of and at the chariot on the triumphant return of the King and his army from the battle field. Occasionally even the king and his Marshalls would dance 'Devarattam' on the chariot deck and the militia and female dancers would form in lines and dance behind the chariot.

At present, Devarattam does not have any songs but is only being danced to the beat of Urumi Melam, Thappu Melam (kind of Drums) and sometimes, a lengthy flute. The dancers hold a piece of cloth in each hand and swing them as they dance. One who leading the dance, wears a false beard and a mask highlighted with shells to look like teeth. He begins the first step, which others follow.

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In Dummy Horse Dance, the dancer fixes the dummy figure of a horse on his/her hip. The dummy horse is made out of light-weight materials and the cloth at the sides' swings to and fro covering the legs of the dancer. The dancer fixes wooden legs which sound like the hooves of the horse.

The dancer holds either a sword or a whip. To perform this folk dance, one needs much training and skill. Poikal Kudhirai dance is complemented by Naiyandi melam or Band music. This dance is associated with the Ayyanar worship, prevails mainly around Thanjavur.

Kavadi Aatam is a religious dance offered to Lord Murugan during the Pilgrimage mainly by Mens. In olden days, the devotees have to walk a long distance on their pilgrimage journey carrying the offerings to Lord Muruga. To carry these offerings they were tied on both the ends of a long and strong stick.

Now a day the devotees carry on their shoulder a decorated Kavadi, a huge bow, richly ornate with peacock feathers, (it is supposed that the peacock is the vehicle of Lord Muruga). Dressed in bright yellow or saffron robes, devotees dancing kavadiyattam smear sacred ash all over their body. Kavadiyattam is widely prevalent in the Murugan temples all over Tamil Nadu during the Panguni Uthiram festival.

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Kuchipudi
(Dances of India)

Bharatanatyam

Kathakali:
The Art of the Non-worldly

Natya Dwani Kavadi Chindu
Bharatnatyam Dance
Tamil Folk Songs

The Andhra Pradesh's Koya tribes have strong similarity with Marias, another tribal community wearing head gear with Bison-horn in Bastar, of Orissa state. The Koyas live in isolated forest Hill-tops in Vishakapatnam District. Their Dances have the same forest tribal rites, ceremonial, Mysterious significance and an indistinguishable energy.

Koya dance consist of, Peacock Dance (Maura Nat) is performed by Men and Harvest Festival dance is performed in the month of April each and every year. The dances are done in small steps, shaping intricate patterns on complicated rhythmical phrases of half-beats and quarter beats. For musical and rhythmical trimmings they typically use the Pioodi and Mayunga. Pioodi is a pipe instrument of three feet Bamboo stick with five holes on the end.

Kummi is a simple and popular Tamil folk dance form needs no musical instruments. Kummi dance is performed by women during festivals. In Kummi, dancers form circles and clap their hands in rhythmically while singing and go round.

'Kollattam' is another most popular dance of South India. It is derived from Kol (a small stick) and Attam (play). Kolattam dance is a mixture of rhythmic movements, songs and music and is performed during village festivals. The stick, used in this dance, provides the main rhythm. Kolattam is known by several names in various parts of India.

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