Festival of Indian classical dance
Purana Qila has become the mantra I have been reciting in front of rickshaw-drivers every night these days as the old fort has been hosting Ananya, a festival of Indian classical dance, “brought to you” by Ministry of Tourism and Culture and Delhi Tourism. Similarly to the concept of Qutub Festival, the event was held at the site of a heritage monument (Purana Qila) so to facilitate a dialogue between various cultural forms, this time being dance and architecture.
I remember how I was running late on the first night and the shuttle bus brought me inside the gate of the fort. A brief ride on a windowless vehicle did not give any comprehensive ideas about the appearance of the spread-out fort complex sunk in the quiet dark. Yet, it was a perfectly sensual experience. Fresh breeze was stroking my hair and calming all my senses. We were approaching a wide path framed by the tall palm trees, artificially lit and hence looking as giant street lights. At the end of the path I could see only a two-headed minaret - the improvised concert hall and the stage were yet hidden.
I was walking along the dark path towards the reinforcing sounds of harmonium with slight touches of tabla accompanied by the rustle the palm trees and could not imagine how divine the performance so beautifully foreplayed can be. The lights of small Diwali lamps hanging on the wall of strings were luring me in. After passing the lamps I climbed the steps – and stood still in front of the gorgeous stage on which incredibly feminine figures of dancers akin to beautiful ancient statues were gracefully moving. Ancient ruins and ancients dance were taking to each other.
One of four styles of Indian classical dance was featured every night by the prominent dancers of India. Each style originated and has been honed in a distinctive area of the country and therefore differs in its concepts, steps and dresses.
Odissi comes from the state of Orissa and is believed to be one of the oldest surviving dances in the world: ancient temples in Orissa depict the scenes of the dance. And nowadays the dancers in the glowing draping of their yellow sarees with red borders, wrapped between their legs to allow the composite choreography look just like those graceful statues when stay motionless without any sign of hard breadth after the intense performance. Non-action seems to be as important in this dance as action. The composite choreography of the dance is based on the three pillars - head, bust and torso – which slow flowing movements, strikingly synchronized for the whole group, are used to express specific moods and emotions. Yet, when the dancers freeze for ever-lasting seconds in the completely motion-less state they still can resort to the facial expressions, another key element in this style. The dance looks like a sacred ritual devoted to Lord Krishna and the movements are truly saturated with of love and devotion.
Kathak used to be performed at the courts of the kings and therefore meant to be entertaining: dance and music were used by the minstrels, or storytellers (kathakaar), to dramatize the lyrics of the heroic tales and legends. The dancers’ dresses look like those on the Mughal miniature paintings: women wear legengas with churudar pants under and men wear long achkan with salwar pants (kathak is the only style of Indian classical dance where dancers can be males too). The dance is woven of swift turns, graceful movements of hands and precise footwork. Flaps of the shining sink suits swing following the multiple turns of the bodies and create the distinctive pattern of this spectacular dance. The movements of hands act as a delicate finishing of this royal entertainment where everything ought to be perfect. The rhythmic footwork is an important feature of the dance that is performed straight-legs and the ankle belts are used to the full capacity here: following the rhythm, anticipating the rhythm and creating the rhythm is in the full agency of the dancers.
Mohiniattam dance originated from the southern state of Kerala. Mohini according to the Hindu mythology is a beautiful woman who attracts people instantly and who was an enchantress, thus it is a dance of enchantresses. Yet, the dance also signifies transformation of Lord Vishnu into a female form and the concept of male and female as one. The dance narrates the legends about Krishna and his beloved Radha and in this capacity stands very close to drama. The slow movements of the dance show the anticipation of Krishna, love and devotion for him and joy when he is around. Dancers are attired in white sarees with red borders, specialty of Kerala, with their palues arranged as a fan under their waist. A woman in purple saree blouse is clearly playing Lord Krishna, traditionally depicted with blue body.
Bharatanatym, dance from Tamil Nadu, appeared to me as a combination of the previous three. Sophisticated synchronized choreography of Odissi, heavy emphasis of hand moments from Kathak, narrative nature of Mohiniattam – are descriptive for Bharatanatym. In this style the body is visualized as if made up of triangles, one above and one below the torso – women always dance bend-kneed – and the geometric perfection of each dancer’s figure and the compositions they merge in set up the dynamics of the dance. Poems on the hero-heroine theme are a special feature of this style and the choreography conveys unconditional devotion on the part of the performer.
All the featured dance forms in Indian classical dance (even Kathak originally) emerged and were nourished as temple dances. And even now when dance is popularized the devotional part seems to go hand in hand with its aesthetic value. The stage where the dance is performed is considered a sacred area to step on which people are ought to remove their shoes. Some even touch the floor with their palm and then put the palm on their forehead – a ritually invariably performed before entering a temple. It is fascinating to realize that a place can just become sacred by the virtue of hosting a sacred activity. Generously hospitable Purana Qila got its blessings from the bell-heeled bare feet of the dancers.
I remember how I was running late on the first night and the shuttle bus brought me inside the gate of the fort. A brief ride on a windowless vehicle did not give any comprehensive ideas about the appearance of the spread-out fort complex sunk in the quiet dark. Yet, it was a perfectly sensual experience. Fresh breeze was stroking my hair and calming all my senses. We were approaching a wide path framed by the tall palm trees, artificially lit and hence looking as giant street lights. At the end of the path I could see only a two-headed minaret - the improvised concert hall and the stage were yet hidden.
I was walking along the dark path towards the reinforcing sounds of harmonium with slight touches of tabla accompanied by the rustle the palm trees and could not imagine how divine the performance so beautifully foreplayed can be. The lights of small Diwali lamps hanging on the wall of strings were luring me in. After passing the lamps I climbed the steps – and stood still in front of the gorgeous stage on which incredibly feminine figures of dancers akin to beautiful ancient statues were gracefully moving. Ancient ruins and ancients dance were taking to each other.
One of four styles of Indian classical dance was featured every night by the prominent dancers of India. Each style originated and has been honed in a distinctive area of the country and therefore differs in its concepts, steps and dresses.
Odissi comes from the state of Orissa and is believed to be one of the oldest surviving dances in the world: ancient temples in Orissa depict the scenes of the dance. And nowadays the dancers in the glowing draping of their yellow sarees with red borders, wrapped between their legs to allow the composite choreography look just like those graceful statues when stay motionless without any sign of hard breadth after the intense performance. Non-action seems to be as important in this dance as action. The composite choreography of the dance is based on the three pillars - head, bust and torso – which slow flowing movements, strikingly synchronized for the whole group, are used to express specific moods and emotions. Yet, when the dancers freeze for ever-lasting seconds in the completely motion-less state they still can resort to the facial expressions, another key element in this style. The dance looks like a sacred ritual devoted to Lord Krishna and the movements are truly saturated with of love and devotion.
Kathak used to be performed at the courts of the kings and therefore meant to be entertaining: dance and music were used by the minstrels, or storytellers (kathakaar), to dramatize the lyrics of the heroic tales and legends. The dancers’ dresses look like those on the Mughal miniature paintings: women wear legengas with churudar pants under and men wear long achkan with salwar pants (kathak is the only style of Indian classical dance where dancers can be males too). The dance is woven of swift turns, graceful movements of hands and precise footwork. Flaps of the shining sink suits swing following the multiple turns of the bodies and create the distinctive pattern of this spectacular dance. The movements of hands act as a delicate finishing of this royal entertainment where everything ought to be perfect. The rhythmic footwork is an important feature of the dance that is performed straight-legs and the ankle belts are used to the full capacity here: following the rhythm, anticipating the rhythm and creating the rhythm is in the full agency of the dancers.
Mohiniattam dance originated from the southern state of Kerala. Mohini according to the Hindu mythology is a beautiful woman who attracts people instantly and who was an enchantress, thus it is a dance of enchantresses. Yet, the dance also signifies transformation of Lord Vishnu into a female form and the concept of male and female as one. The dance narrates the legends about Krishna and his beloved Radha and in this capacity stands very close to drama. The slow movements of the dance show the anticipation of Krishna, love and devotion for him and joy when he is around. Dancers are attired in white sarees with red borders, specialty of Kerala, with their palues arranged as a fan under their waist. A woman in purple saree blouse is clearly playing Lord Krishna, traditionally depicted with blue body.
Bharatanatym, dance from Tamil Nadu, appeared to me as a combination of the previous three. Sophisticated synchronized choreography of Odissi, heavy emphasis of hand moments from Kathak, narrative nature of Mohiniattam – are descriptive for Bharatanatym. In this style the body is visualized as if made up of triangles, one above and one below the torso – women always dance bend-kneed – and the geometric perfection of each dancer’s figure and the compositions they merge in set up the dynamics of the dance. Poems on the hero-heroine theme are a special feature of this style and the choreography conveys unconditional devotion on the part of the performer.
All the featured dance forms in Indian classical dance (even Kathak originally) emerged and were nourished as temple dances. And even now when dance is popularized the devotional part seems to go hand in hand with its aesthetic value. The stage where the dance is performed is considered a sacred area to step on which people are ought to remove their shoes. Some even touch the floor with their palm and then put the palm on their forehead – a ritually invariably performed before entering a temple. It is fascinating to realize that a place can just become sacred by the virtue of hosting a sacred activity. Generously hospitable Purana Qila got its blessings from the bell-heeled bare feet of the dancers.
posted by Olga Tikhonova | 4:34 pm
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