THE DEVELOPMENT TEAM

Principal Investigator Prof. S. P. Bansal, Vice Chancellor, Indira Gandhi

University, Rewari

Co-Principal Investigator Dr. Prashant K. Gautam, Director, UIHTM, Panjab

University, Chandigarh

Paper Coordinator Prof. Manoj Dixit, Vice Chancellor, RML Awadh

University, Uttar Pradesh

Paper Co-Coordinator Dr. Praveen Rana, Department of Tourism, Banaras

Hindu University, Varanasi

Content Writer Dr. Sandeep Walia, Head of Department, UITHM,

Chandigarh University, Punjab

Content Reviewer Prof. S. P. Bansal, Vice Chancellor, Indira Gandhi

University, Rewari

Paper 10: Tourism Products of India

Module- 11: Elements of Indian Art: Dance and Music

Items Description of Module

Subject Name Tourism and Hospitality

Paper Name Tourism Products of India

Module Title Elements of Indian Art: Dance and Music

Module Id Module No-11

Pre- Requisites Basic knowledge about Indian Culture

Objectives To understand the Element of Music and Dance in Indian Scenario

Keywords Culture, India, Dance, Music

Module 11: Elements of Indian Art: Dance and Music

1 Learning Outcome

2. Introduction

3. Dances of India

3.1 Classical Dances

3.1.1 Bharatanatyam

3.1.2 Kathakali

3.1.3 Kathak

3.1.4 Manipuri

3.1.5 Kuchhipudi

3.1.6 Odissi

3.1.7 Mohiniyattam

3.6.8 Sattriya

4. Folk Dances of India

5. Indian Music

5.1 Classical Music

5.1.1 Hindustani Music

5.1.2 Carnatic Music

5.2 Folk Music

5.3 Modern Music

6. Ballet and Indian Dances

7. Summary

1 LEARNING OUTCOME

After completion of this module, students will be able to:

• Know what is dance in Indian culture

• Difference between Classical and Folk dances of India

• Contributions of Classical, Folk and Modern Music

• Relationship between Culture, Dance and Music

2. INTRODUCTION

India is a diverse land and variety can be seen in its every field including culture. This

diversity adds uniqueness to the culture of India. The diversity, variety, uniqueness can also

be witnessed in the Indian Culture. Culture is too wide a term and includes, dress, dance,

handicraft, architecture, music, art forms etc. The variety in dance in India is displayed on the

basis of region, religion, and hence they are performed for religious as well as celebration

purposes. Even the caves in which early man dwelt have paintings of these early man dancing

and merry making. Then the Vedic period also testifies that hymns were chanted in a certain

manner which had notes and later were enacted like a play. The NATASUTRAS are a treatise

related to the dance history of India and even writings of the sage Panini as early as 500 BC

testifies these facts. The later vedic texts of Shilalin and Krishashva were the first people who

did in-depth studies of natya -drama, nritya- dance and Sangeet-Music. The sangeet talks of

seven suras in India and is all encompassing and very comprehensive art.

3. DANCES OF INDIA

The two most vivid division that can be done of Indian dance is the classical dances and the

folk dances. There are ample of differences and similarity between them. The classical dances

have spiritual element in it. The folk dances have spiritual and religious element but the

celebration element makes it more popular. There are many forms of classical as well as

Indian folk dances.

3.1 CLASSICAL DANCES

Classical dance are a rich heritage of Indian tradition. There are approximately eight main

classical dances classified by Sangeet Natya Shastra Academy. They are names as

Bharatnatyam

Kathakali

Kathak

Manipuri

Kuchipudi

Odissi

Mohiniyattam

Sattriya

Let us discuss these in details

3.1.1 BHARATANATYAM It traces its origin from the sate of Tamil Nadu, one of the metros of

South India. It holds its roots to the Natya Shastra a very old scripture on theatre authored by the

mystical priest Bharata. Initially it was performed in the temple courtyards for the God, performed by

women to narrate the Hindu theology and its stories. It was not performed outside the periphery of

the temple. The posture of bent legs segregate it from the other dance forms and had multiple mudras

in the form of hand gestures which helped to narrate the stories. Sari is drat it acquires a belt like

structure dividing both the legs. The navel area is also covered with a belt. The shingar

(ornamentation) of the dancer is done with very special jewellery from Tamil Nadu made from gold.

Flowers adorn the bun of the performers and is known as Gajra.

3.1.2 KATHAKALI It belongs to the ancient art form of Kerala in India. It is of religious origin. The

Ramayana as a scripture and Shiva as a God inspire the performer in many ways. It used to be a man

domain as female roles were also performed by young boys. The makeup, costumes and

headdresses/headgears were very ornate in this dance form. From the domains of the temple it has

now moved to the public spheres and now performed at local functions too. The costume is like a

frock and afull blouse along with it. Headdress or a headgear is the most prominent ornamentation of

a Kathakali dancer. The makeup sometimes takes half a day and is paint like as expressions come out

best through them. The jewellery is made of silver and gold both.

3.1.3 KATHAK It is a North India dance. It is a romantic dance form. Initially it was for the divine

but slowly came to the court and then to the commoners. Man and woman both were used as

performers. There are some very versatile, flexible, yet smooth movements. Mudras or hand gestures

are very important and are mixed with facial expressions. The footwork is the ultimate part of this

dance form. The dancer wears an array of beads or ghungroos on her feet and then tries to replicate

the instrument’s voice which the accompanists are playing. It originates from the Kathavachaks or the

story tellers who used a mixed form of storytelling alongwith music and dance to convey their

stories. The costumes can be anyone of the following saree, ghagra, choli, churidar and frock. Men

wear churidars too. Makeup is light but sharplines are used. Special Kundan and peral jewellery is

used.

3.1.4 MANIPURI It belongs to the state of Manipur in the north-east. Lord Krishna is the main

subject or the theme. Lot of rituals and folk traditions are depicted. The rhythms, the scenes from

Lord Krishna’s life and the graceful movements add different dimensions to this dance. Lot of

chanting is accompanied with this dance alongwith a choir which sings with chorus. The male and

female dresses are different. Dhoti, kurta is generally worn by the males. It is accompanied by shawl

and a turban. Females have a skirt as a dress but it is in a barrel shape, the blouses are made from

velvet. Veils are used and cover the face.

3.1.5 KUCHIPUDI Kuchipudi belongs to the state of the Andhra Pradesh. The dancer is all alone on

the stage making it a solo performance. The dancer has to be well versed in dancing as well as

singing. It is high on spiritual element. It copies the rituals of the puja like sprinkling water, burning

the incense stick, and reciting the name of the Goddesses. Initially it was a male domain but later

females entered to do their parts. Saree is worn by the female artists with light makeup. Earlier saree

was draped but now stitched versions are available. Men wear dhotis.

3.1.6 ODISSI One of the oldest art form in terms of classical dance it is from the state of Orissa. The

woman are the main performers as they have to replicate the design of a temple. There are fifty plus

madras and uses a lot of expressions. The hand gestures here are also pre dominant.

Costume is made from traditional weaved material of Orissa. Sarees and dhotis are used by males and

females. The crowns that females wear are from Jagannath Puri. The bun of females is adorned with

gajras or garlands. Silver is used as a metal for jewellery and ghungroos are a part of it.

3.1.7 MOHINIYATTAM Tracing the dance form’s origin from the state of Kerala. It is a extremely

soft, calm and a very gentle dance. It is exclusively done by females as is a female dance form. It is

dedicated to the female avatar of Lord Vishnu. The costume is saree or a dhoti and is generally light

cream, off-white ion shades. Bun is tied known as kuduma and heavy ornaments are used.

3.6.8 SATTRIYA It is the latest entry to be classified as a classical dance of India in the year 2008

and Assam was recognized its state. Radha and Krishna is the main theme of the dance performance.

It has a masculine and a feminine form. It is performed in cultural evenings too. Men wear dhoti, a

chadar and a turban. Females wears chadar, waist cloth known as Kanchi which is locally made in

Assam. To represent demons masks are also used at times. Local jewellery from Assam is used.

4. FOLK DANCES These dances are a reflection of a people of a region or a whole country. Dances

which are of ritualistic origin are religious dances or classical dances and are not considered folk

dances. Ethnicity and traditionalism are two parameters of folk dances. These dances are the dance of

the common people and reflect their day to day life. These are performed during social gatherings like

marriage, birth ceremonies, etc. by local people who may have no professional trainings. It is

performed on the traditional music of the local area or the region. It may be performed on stage but it

is generally a public dance form. Traditions and rituals dominate the layout and there is minimal room

for innovation. As people grow up they imbibe the learning as no formal initiation or training is done.

Folk dances may also have their categories. One of the first categories is the Folkloric Dance which

has a metaphysical root. It is performed on the rites of religion and has ritualistic behavior. It reminds

of the life that is no more existential in this time. Then there can be Folky Dance which traces its

origin to agrarian societies. The purpose of the dance has been lost but yet the dance form is kept

intact in the modern times. Then in this categorization the next could be the popular dance which is

popular in the lower rungs of the social order may be peasants. Then there may be an Elite dance

which had its origin in the courts and is a part of elite or upper classes of the society. Mass dances

owe their origin to folk dances. Then there are Art Dances which have long lost their contact with

folklores yet they somehow have over a period of time acquired their own traditions. They are elitist

in nature. Then there are traditional folk dances. These are the ones that are still evolving.

Lists of Indian Folk dances are mentioned below:

LIST OF FOLK DANCES OF INDIA

S.No STATE DANCE FORM

1 Andhra Pradesh Kuchipudi.

Kottam

2 Assam Ojapali

Bihu

Ankia Nat

3 Arunachal Pradesh Lion and Peacock dance

Chalo

Popir

Bardo Chham

Aji Lamu

4 Bihar Jata Jatin

Faguna or Fag

Purbi

Bidesia

5 Chhatisgarh Panthi

Raut Nacha

6 Gujarat Dandya Ras

Garba Lasya Nritya

Bhavai

Garba

Rasila

Trippan

7 Goa Fugdi

Dekhnni

Tarangamel

Dhalo

8 Haryana Swang

Khoria

Gugga dance

Loor

Sang

Dhama

9 Himachal Pradesh Luddi Dance

Munzra

Kanayala

Giddha Parhaun

Hikat

10 Jammu and Kashmir Rouf

Chakri

11 Jharkhand Karma

12 Karnataka Yakshagana

Bayalata

Simha Nutrya

Dollu Kunitha

Veeragase

13 Kerala Chakiarkoothu

Kathakali

Mohiniattam

Ottam Thullal

Chavittu Natakam

Kaikotti Kalai

Koodiyattam

Krishnavattam

Mudiyettu

Tappatri Kai

Theyyam

14 Lakshadweep Lava

15 Madhya Pradesh Macha

Lota

Pandvan

Tertali

Charkula

Jawara

Matki dance

Phulpatti dance

Grida dance

Maanch

Gaur maria dance

16 Mizoram Chiraw (Bamboo Dance)

17 Manipur Thang ta

Dhol cholom

Manipuri

18 Maharashtra Tamasha

Dahi Kala

Lavani

Lezim

19 Odisha Odissi

Savari

Ghumara

Paika

Chhau

Gotipua

Sambalpur

20 Puducherry Garadi

21 Punjab Bhangra

Giddha

Daff

Dhaman

Malwai

Jhumar,

Karthi

Kikli

Sammi

Dandass

Ludi

Jindua

22 Rajasthan Ghumar

Chakri

Gangaur

Jhulan

Leela

Jhuma

Suisini

Ghapal

Kalbelia

23 Sikkim Singhi chham

Yak Chaam

Maruni

Rechungma

24 Tamil Nadu Bharatnatyam

Kumi

Kolattam

Kavadi

Karagattam

Theru koothu

Bommal attam

Puliyaattam

Oyilattam

25 Telangana Perini Thandavam

Dappu

Lambadi

26 Tripura Hojagiri

Goria

Lebang Boomani

27 Uttarakhand Chholiya

Jagars

Thali-Jadda

Jhainta

Barada Nat

28 Uttar Pradesh Nautanki

Raslila

Kajri

Jhora

Chhapeli

Jaita

29 West Bengal Jatra

Chau

Kathi

5. INDIAN MUSIC India is a land of five rivers but it is also a land of seven notes or the sapt swars.

Indian traditions have music imbibed and embedded in them. The variety amazes the listeners from

melodies to classical. The music is as old as the vedic tradition as the Vedas describe the different

kind of wind and string instruments. The drums also have been discussed in the Vedas. The Kings and

their courts had an elaborate arrangement for music. Even the mughal rulers who came from outside

of India and made India their home patronized the music and the musician in their courts. Tansen is

still known as one of the nine gems of Akbar’s court.

The music can be demarcated into two neat parts the classical side of music and the folk side of

music. The classical can be further sub divided into North Indian or the Hindustani music and the

other being the Carnatic or South Indian music. This division came out in the 16th century and this can

be applicable to both the vocal and the instrumental music. A third sub division is getting in shape

which is the modern/popular/film music.

5.1 CLASSICAL MUSIC The classical music is bifurcated into two neat parts the Carnatic Music

prominently dominant in the peninsular region and the other is the Hindustani music more

prominently dominant in the North eastern and Central Regions. This will include the concept of

Shruti, Swar, Alankar, Raga and Tala.

5.1.1 HINDUSTANI MUSIC Originated from the Carnatic music and took birth in the thirteenth and

the fourteenth century. The Vedas helped it to develop when they have taken the hymns form and they

were sung and chanting was not done. It is known as Hindustani as it is a combination of vedic,

ancient, Indian traditions and the influence of the Persian practices of the Mughals.

5.1.2 CARNATIC MUSIC The Carnatic music has been around since fourteenth and the fifteenth

century. It traces it origin to South India. It is very close to the Hindustani music and have fixed

compositions and is very soulful. The main area of concentration is the vocal part and mainly sung but

performed on instruments too. In terms of Ragas or notes it is very rich and has seven million plus

ragas out of which three hundred are more popular.

5.2 FOLK MUSIC Folk music is celebration music largely performed on weddings. Festivals, birth

ceremonies, initiation ceremonies etc. Each state like its folk dance has its unique folk music too.

Some more known names are BAUL – which is from the Bengal region of India and extends to the

neighboring Bangladesh. It is a result of bhakti movement influenced by kabir and other Bhakti cult

propagators. It followed an oral tradition and is highly emotives and is not penned down. It could be

played upon Ektara, Dotara, Duggi, Dhol, Manjira etc. BHAJAN- is also a form of folk music. It will

have a religious or spiritual idea embedded in it with regional flavours. There is no fixed format. It

has lyrics and based on different ragas generally contain life incidents of Gods and saints. It is also a

result of Bhakti movements. It has its modifications like in Vaishnism, Shivism, Jainism and Shabd

Kirtan in Sikhism. ODISSI- It originated from the Indian state of Orissa which has Southeastern

location. Odramagadhi exists in the form of Odissi. It is a base for the Odissi dance and performance

is done on this music. RABINDRA SANGEET – These are songs composed by Tagore and are two

hundred and thirty in number. These have Bengal base and is widely use din folk music of Bengal.

THUMRI- It is semi classical in form. It is a mix of dance, drama, gestures, eroticism, evocative, and

is popular in Uttar Pradesh with variants spreading to neighboring states. Besides these DADRA,

GHAZAL, QAWWALI, CHAITI, KAJARI and SUFI are few to name.

5.3 MODERN MUSIC The post modern or the advent of twentieth century witnessed a massive

change in the music scenario. The language and the rhythms all became very modern. The modernity

in terms of compositions creped in. Many foreign, new instruments were introduced too. Modern

cinema gave support to this music and in this multiple musicians were employed. It became a period

of playback singers who used their voices for on screen actors and performers. It captured the fantasy

of the youth as they made it a fashion and a fad. The result of these are live concerts where like

minded people get together and witness their favorite musicians and singers performing often to dance

performances of their favorite actors too.

6. BALLET AND INDIAN DANCES

The current genre may recognize classical dance forms but seem to be almost unaware of the folk

dances. Jhijhi, Jhumar, Jogira, Natua nach are alien words to the young generation’s dictionary. India

has treatise when it comes to different classical and folk dance forms and the ballet can easily be base

don a mix of them. The difference that one can trace between the west and the east form of ballet is

the timings, the western ballets have their base in the present whereas as eastern value system we live

across the periods of time, present, past and future. This is much reflected in our performances.

Mythology, Theology, Religion, Spiritualism are inseparable part of our ballets. These concepts takes

us back to our roots which will connect us and are relevant in all the times to come. The ballet has to

start with a theme which then is turned into characters, the costumes, effects, lights and props on the

stage. Mix of light and sound is also needed. A good brainstorming session is needed with the

performers and the director. Choreography, practice sessions, full dress rehearsals are activities that

are often repeated to take it to a level of perfection.

7. SUMMARY

Thus we see India has a rich culture and music and dance is intertwined in it. The religion and

spiritual India is deeply connected to the dance and music forms and their survival over a period of

years are an ample proof that still there are patrons who want to keep the traditions alive. There are

government and private organizations that are working hard to keep up their popularity. The various

researches conducted and the attempts to popularize them both within and outside India will help to

keep these traditions alive and we will be able to pass them to our next generation.