DANCES OF INDIA
DANCES OF INDIA
There are (ada) many types of dance in India, from those which are deeply (sangat) religious in content to those which are danced on more trivial happy occasions. Classical dances of India are usually always spiritual in content, although this is often true also of Folk dances (tarian rakyat)
Classical Indian Dance
The classical dances are
Kathakali and Mohini Attam from Kerala
Kathakali literally (harfiah) means story-play (kisah cerita) and is an elaborate (kreasi) dance depicting (menggambarkan) the victory of truth over falsehood (kesalahan)
A striking (mencolok) feature of Kathakali is the use of elaborate make-up and colourful costumes. This is to emphasize that the characters are superbeings (manusia luar biasa) from another world, and their make-up is easily recognisable (dapat dikenali) to the trained (terlatih) eyes as satvik or godlike (dewa), rajasik or heroic, and tamasik or demonic (setan)
The theme of Mohini attam dance is love and devotion (ketaatan) to god. Vishnu or Krishna is most often the hero. The spectators (penonton) can fell His Invisible presence when the heroine (pahlawan wanita) or her maid (pelayan) details dreams and ambitions through circular movements, delicate footsteps (gerakan kaki yang lembut) and subtle expressions (mimik wajah). Through slow and medium tempos, the dancer is able to find adequate space for improvisations and suggestive bhavas or emotions. The basic dance steps are the Adavus which are of four kinds: Taganam, Jaganam, Dhaganam and Sammisram. These names are derived from the nomenclature called vaittari.
The Mohini attam dances maintains realistic make-up and adorns (menghiasi) a simple costume, in comparison to customes of other dances, such as Kathakali. The dances is attired (mengenakan) in beautiful white with gold border Kasavu saree (kain sari) of Kerala, with the distinctive (khusus) white jasmin flowers araound a French bun (sanggul) at the side of her head
Bharata Natyam from Tamil Nadu
Bharata Natyam dance has been handed down through the centuries by dance teachers (or gurus) called nattuwanars and the temple dancers, called devadasis. In the sacred environment of the temple these familes developed and propagated their heritage. The training traditionally took around seven years under the direction of the nattuwanar who were scholars and persons of great learning. The four great nattuwanars of Tanjore were knows as the Shivanandam. The Bharata Natyam repertiore as we know it today was constructed by this talented Tanjore Quarte.
Kuchipudi from Andra Pradesh
The dance drama that still exists today and can most closely (secara erat) be associated with the Sanskrit theatrical tradition is Kuchipudi which is also known as Bhagavata Mela Natakam. The actors (para aktor) sing and dance, and the style (gayanya) is a blend of folk and classical. Arguably (perdebatan) this is why this technique has greater freedom and fluidity (mengalir) than other dance styles.
Bhagavata mela natakam was always performed(dipertujukan) as an offering (permohonan) to the temples of either Merratur, Soolamangalam, Oothkadu, Nallur or Theperumanallur.
Odissi from Orissa
Odissi is based on the popular devotion (bakti) to Lord Krishna and the verses of the Sanskrit play Geet Govinda are used to depict (menggambarkan) the love and devotion to God. The Odissi dancers use their head, bust and torso (batang tubuh) in soft flowing movements to express specific moods and emotions.
The form is curvaceous (berbentuk kurva), concentrating on the tribhang or division of the body into three parts, head, bust and torso; the mudras and the expressions are similar to those of Bharatnatyam. Odissi performance are replete (penuh) with lores (adat) of the eight incarnation of Vishnu, Lord Krishna. It is a soft, lyrical classical dance which depicts the ambience (ketakjuban) of Orissa and the philosophy of its most popular deity, Lord Jaganwath, whose temple is in Puri. On the temple walls of Bhubaneshwar, Puri and Konark the dance sculptures of Odissi are clearly visible.
There are (ada) many types of dance in India, from those which are deeply (sangat) religious in content to those which are danced on more trivial happy occasions. Classical dances of India are usually always spiritual in content, although this is often true also of Folk dances (tarian rakyat)
Classical Indian Dance
The classical dances are
Kathakali and Mohini Attam from Kerala
Kathakali literally (harfiah) means story-play (kisah cerita) and is an elaborate (kreasi) dance depicting (menggambarkan) the victory of truth over falsehood (kesalahan)
A striking (mencolok) feature of Kathakali is the use of elaborate make-up and colourful costumes. This is to emphasize that the characters are superbeings (manusia luar biasa) from another world, and their make-up is easily recognisable (dapat dikenali) to the trained (terlatih) eyes as satvik or godlike (dewa), rajasik or heroic, and tamasik or demonic (setan)
The theme of Mohini attam dance is love and devotion (ketaatan) to god. Vishnu or Krishna is most often the hero. The spectators (penonton) can fell His Invisible presence when the heroine (pahlawan wanita) or her maid (pelayan) details dreams and ambitions through circular movements, delicate footsteps (gerakan kaki yang lembut) and subtle expressions (mimik wajah). Through slow and medium tempos, the dancer is able to find adequate space for improvisations and suggestive bhavas or emotions. The basic dance steps are the Adavus which are of four kinds: Taganam, Jaganam, Dhaganam and Sammisram. These names are derived from the nomenclature called vaittari.
The Mohini attam dances maintains realistic make-up and adorns (menghiasi) a simple costume, in comparison to customes of other dances, such as Kathakali. The dances is attired (mengenakan) in beautiful white with gold border Kasavu saree (kain sari) of Kerala, with the distinctive (khusus) white jasmin flowers araound a French bun (sanggul) at the side of her head
Bharata Natyam from Tamil Nadu
Bharata Natyam dance has been handed down through the centuries by dance teachers (or gurus) called nattuwanars and the temple dancers, called devadasis. In the sacred environment of the temple these familes developed and propagated their heritage. The training traditionally took around seven years under the direction of the nattuwanar who were scholars and persons of great learning. The four great nattuwanars of Tanjore were knows as the Shivanandam. The Bharata Natyam repertiore as we know it today was constructed by this talented Tanjore Quarte.
Kuchipudi from Andra Pradesh
The dance drama that still exists today and can most closely (secara erat) be associated with the Sanskrit theatrical tradition is Kuchipudi which is also known as Bhagavata Mela Natakam. The actors (para aktor) sing and dance, and the style (gayanya) is a blend of folk and classical. Arguably (perdebatan) this is why this technique has greater freedom and fluidity (mengalir) than other dance styles.
Bhagavata mela natakam was always performed(dipertujukan) as an offering (permohonan) to the temples of either Merratur, Soolamangalam, Oothkadu, Nallur or Theperumanallur.
Odissi from Orissa
Odissi is based on the popular devotion (bakti) to Lord Krishna and the verses of the Sanskrit play Geet Govinda are used to depict (menggambarkan) the love and devotion to God. The Odissi dancers use their head, bust and torso (batang tubuh) in soft flowing movements to express specific moods and emotions.
The form is curvaceous (berbentuk kurva), concentrating on the tribhang or division of the body into three parts, head, bust and torso; the mudras and the expressions are similar to those of Bharatnatyam. Odissi performance are replete (penuh) with lores (adat) of the eight incarnation of Vishnu, Lord Krishna. It is a soft, lyrical classical dance which depicts the ambience (ketakjuban) of Orissa and the philosophy of its most popular deity, Lord Jaganwath, whose temple is in Puri. On the temple walls of Bhubaneshwar, Puri and Konark the dance sculptures of Odissi are clearly visible.
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