Asst. Professor - Christ University

Transcription

Asst. Professor - Christ University
A United Board for Christian Higher
Education in Asia
and Christ University
Collaboration
Christ University, Hosur Road, Bangalore
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Project Holder: Vice Chancellor Fr. Thomas C.
Mathew
Experts: Prof. Kennedy Andrew Thomas
Asst. Professor : Prabin Villareesh
Asst. Professor : Anupama Nayar
Asst. Professor : Padmakumar M.M.
Student Committee: Ankit Aggarwal, Ashwin
Kumar,Shamoon, Akhil Scaria, Heidi Mamatha,
Preeti Sondur, Bhavna Gowri.
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Dr. Marie Stella
Mrs. Methil Devika
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To generate content on Indigenous
knowledge
 To ensure the spread of Indigenous Art
Forms
 To promote the longevity of such Art
Forms

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Module 1
Introduction to Indian dance
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A culture's dances are a living repository
for its history, values, struggles, hopes,
and aspirations.
 A community's cultural identity is
expressed through its dances. In many
cases, ancient dance provides
sophisticated examples of attainment in
exalted states of body, mind and spirit.
 In this course an overview of the origin,
history, evolution and repertoire of Indian
Classical Dances will be given in general
and Bharatanatyam and its nuances in
particular.

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Introduction to Indian Classical dance
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Introduction to Indian Classical Dances
i. Kathak

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Origin
b) Importance of the dance form
c) Kathak repertoire
d) Costume and make up
e) Orchestra
a)
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ii. Kathakali
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Origin
b) Importance of the dance form
c) Kathakali repertoire
d) Costume and make up
e) Orchestra
a)
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iii. Manipuri
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Origin
b) Importance of the dance form
c) Manipuri repertoire
d) Costume and make up
e) Orchestra
a)
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iv. Odissi
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Origin
b) Importance of the dance form
c) Odissi repertoire
d) Costume and make up
e) Orchestra
a)
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v. Kuchipudi
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Origin
b) Importance of the dance form
c) Kuchipudi repertoire
d) Costume and make up
e) Orchestra
a)
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vi. Mohiniattam
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Origin
b) Importance of the dance form
c) Mohiniattam repertoire
d) Costume and make up
e) Orchestra
a)
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vii. Sattriya
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Origin
b) Importance of the dance form
c) Sattriya repertoire
d) Costume and make up
e) Orchestra
a)
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viii. Bharatanatyam
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Origin
b) Importance of the dance form
c) Bharatanatyam repertoire
d) Costume and make up
e) Orchestra
a)
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Introduction to Folk Dance Forms of India
i. Folk arts of India
ii. The categorization of the folk arts – Folk lore,
folk dance, folk theatre, traditional theatres.
iii. Folk dances can be divided into four
varieties.
a. Cultural or Semi religious folk dances
b. Social folk dances
c. Seasonal dances
d. Warrior dances

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Folk dances of Tamil Nadu
a. Kummi
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b. Kolattam
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c. Kavadiattam
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d. Karagattam
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Folk Dances of Karnataka
a. Jade Kolatta

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b. Suggi Kunitha
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c. Kamsale Nritya
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d. Dollu kunitha
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Folk Dances of Andhra Pradesh
a. Dappu Vadyam

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b. Bathkamma
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Folk Dances of Kerala
a. Kaikottukali

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b. Kolkali
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Folk Dances of Maharashtra
a. Dindi
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b. Kaala
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Folk Dances of Gujarat
a. Garbha

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b. Raas
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Folk Dances of Rajasthan
a. Ghummar
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b. Dandiya
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c. Jhummar
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Folk Dances of Uttar Pradesh
a. Pando
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b. Jhoola Dance
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Folk Dances of Bihar
a. Karma
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b. Jatra Dance
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Folk Dances of Bengal
a. Bhajo
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b. Kathi
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Folk Dances of Assam
a. Bihu
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b. Naga Dance
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Folk Dances of Punjab
a. Bhangra
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b. Gidhaa
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Folk Dances of Kashmir
a. Hikat
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b. Pather
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Concepts/Principles from the Sastras
i. Introduction to Natyasastra
ii. Introduction to Abhinayadarpana
iii. Introduction to Sangitaratnakara
iv. Introduction to

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Nritta- Pure Dance
 Nritya- consisting of foot work and
abhinaya
 Natya- combination of bhava, rasa and
abhinaya
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Abhinaya
a. Angikabhinaya
b. Sathvikabhinaya
c. Vachikabhinaya
d. Aharyabhinaya

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Fundamental Technical Terms used in
dance.
i. Adavu

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
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a. Samasthanaka
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b. Araimandi
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c. Soustava
posture
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d. Muzhumandi
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ii. Korvai
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iii. Solkattu
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iv. Jathi
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v. Tala
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vi. Nattuvangam
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viii. Hasta
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ix. Salangai
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xi. Arangetram
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Hastas and Bhedas in Bharatanatyam
 Hastas
i. Asmayutha Hastas(28 in number) and
Samyutha Hastas(24 in number)

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Patakas - Flag
Pataakas - flag
Thripathakah- flag in three parts
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Arthapathaakah – half flag
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Karthareemukhaha- scissor face
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Mayoorah- peacock
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Ardhachandhrah– half moon
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Araalah -bent
Shukathundah – parrot’s beak
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Mushti - fist
Shikharah - peak
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Kabithah – elephant apple
Katakaamukhah- opening in a bracelet
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Katakamugaha-
Katakamugaha -
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Soochi -needle
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Chandhrakalaa – digit of the moon
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Padhmakoshah – lotus bud
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Sarpashirah – Snake hood
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Mrigasheershah- deer head
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Simhamukhaha- lion face
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Kaangula - tail
Alapadhma -lotus
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Chathurah - square
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bhramarah- bee
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Hamsaasya – swan beak
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Hamsapaksham- swan wing
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Sandhamshah - picers
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Tamrachuda Mukula – blossom or bud
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Thaamrachooda - cock
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Thrishoola - trident
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Kapotha- pegion
Anjali - solutation
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Karkatah- crab
Swasthika - crossed
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Dolaahasthah-swing
Pushpaputah – hand full of flowers
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Uthsangah - embrace
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Shivalingakah – phallic
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Katakaavardhana - bracelet
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Karthareesvathika – crossed scissors
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Shakatam - cart
Shankha - conch
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Samputah – covered box
Chakram - visc
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Paasha - cord
Keelakah - bond
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Mathsya - fish
koorma - tortoise
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Varaaha – bore
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Garudah - eagle
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Naagabandhah – serpent fetter
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Khatva - cot
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Bherunda – pair of birds
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Avahiththah - dissimulation
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i. Siro Bheda – Head movements
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ii. Drishti Bheda – Eye movements
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iii. Griva Bheda - Neck movement
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iv. Pada Bheda
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
Salutation
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Basic movements in Bharatanatyam
i. Tattadavu
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iii. Nattadavu
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iv. Paravaladavu
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v. Kuthitumettadavu
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vi. Panjanadai
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vii. Makutaadavu
Tadinginatom and Kitatakatarikitatom
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viii. Folk Dance

Kolaattam
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
Conclusion
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