| Bharatanatyam |
| Bharatanatyam was a dance technique evolved in the South of India in Tamil Nadu and practised in the Shiva temples. It is a highly specialised science with uses a traditional background and rigid codes and conventions. Bharatanatyam skillfully embodies the three primary aspects of dance. They are bhava or mood, raga or music and melody and tala or timing. The technique of Bharatanatyam consists of the hand, foot, face and body movements, which are performed to the accompaniment of 64 principles of coordination. For many centuries only certain families in the district of Thanjavur performed Bharatanatyam. The inheritors of the craft were known as Nattuvans. The chief exponents of this dance were the devadasis or temple dancers. They would perform the dance daily at the time of worship or on festive occasions. It came to be patronized by the rajahs and princes. In course of time the devadasis began to dance in the courts and palaces and the sanctity of the dance was lost |
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| Bharatanatyam stands in the forefront of all the classical dance art forms that are now prevalent in India. Owing to its religious origins and its highly developed technique, it is the form of dance most akin to the code compiled by the sage Bharata Muni in his famous Natya Shastra. The modern form of Bharatanatyam presentation is the arrangements of four Nattuvans of Pandanallur who were brothers. They were Ponniah, Chinniah, Vadivelu and Sivanandam, who lived in the eighteenth century. The Vidwan, Meenaskshi Sundaram Pillai of Pandanallur, the greatest teacher of Bharatanatyam is a direct descendant of these brothers |
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| It was Rukmini Devi Arundale, the celebrated dancer and scholar who took this dance form out of the temple and gave it new respectability. She started the dance school Kalakshetra in Adyar. The school was later shifted to Thiruvanmiyur, from where it now functions. Here the old, gurukulam system in education is still followed and many classes are conducted in sylvan surroundings. In the Nataraja temple or the temple of dancing Shiva at Chidambaram, the 108 poses of the classical form of Bharatanatyam are sculpted on the pillars around the shrines and on the gateways. |
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| Folk Dance |
| Tamilnadu had developed and fine-tuned the art of entertainment. The three modes of entertainment are classified as Iyal or Literature, Isai or Music and Nadagam or Dance/Drama have had their roots in the rural folk theatre like Therukoothu. Many forms of group and individual dances with classical forms have been adapted for popularity and sheer entertainment value. A majority of these dances still thrive in Tamil Nadu today.The most celebrated form of village folk dance is Karagattam |
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| Karagattam Karagam is a folk dance with musical accompaniment. Balancing a water pot on the head the dancer performs. Traditionally, the villagers in praise of the rain goddess Mari Amman and river goddess, Gangai Amman, performed this dance with water pots balanced on their heads. In Sangam literature, this dance is mentioned as Kudakoothu. This dance has two parts, the Aatta Karagam and the Shakti Karagam. More often it is danced with decorated pots on the head and is known as Aatta Karagam and this symbolises joy and merriment. Aatta Karagam is performed only in temples, while the Shakti Karagam is mainly entertainment. Karagattam is one of the more popular rural dances today. Earlier it was performed only with accompaniment of the Naiyandi Melam but now it includes songs also |
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| The Karagam was once performed for mulaipari ceremony. The dancer carried a pot of sprouted grains on his/her head and danced, balancing it through intricate steps and body/arm movements. Today, the pots have transformed from mud pots to bronzeware and even stainless steel pots. The pots are placed one on top on the other, ranging in size to resemble a narrow triangle and they are decorated with flowers, and topped by a paper parrot. The parrot rotates as the dancer moves and swerves. This dance is very popular all over State, though it is said tohave begun in Thanjavur. Most Karagam artistes hail from Thanjavur, Pudukottai, Ramanathapuram, Madurai, Thirunelveli, Pattukottai and Salem. An individual or two persons can perform this dance. Both male and female performers participate and acrobatics similar to that of a circus are included. They range from dancing on a rolling block of wood, to going up and down a ladder, and the more intricate and absorbing feats like threading a needle while bending backwards with the pots still resting on the head and many others |
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| Mayil Attam |
| This is done by girls dressed as peacocks, resplendent with peacock feathers and a glittering head-dress complete with a beak. This beak can be opened and closed with the help of a thread tied to it, and manipulated from within dress. Other similar dances are, Kaalai Attam (dressed as a bull), Karadi Attam (dressed as a bear) and Aali Aattam (dressed as a demon) which are performed in the villages during village get-togethers. Vedala Aattam is performed wearing a mask depicting demons |
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| Kolaattam |
| Kolaattam is an ancient village art. This is mentioned in Kanchipuram as 'Cheivaikiyar Kolattam', which proves its antiquity. This is performed by women only, with two sticks held in each hand, beaten to make a rhythmic noise. Pinnal Kolaattam is danced with ropes which the women hold in their hands, the other of which are tied to a tall pole. With planned steps, the women skip over each other, which forms intricate lace-like patterns in the ropes. As coloured ropes are used, this lace looks extremely attractive. Again, they unravel this lace reversing the dance steps. This is performed for ten days, starting with the Amavasi or Newmoon night after Deepavali |
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| Oyil Kummi |
| This is an ancient folk dance form popular in Trichi, Salem, Dharmapuri, Coimbatore and Periyar Districts. No other musical instruments are used in this dance except the ankle-bells. This dance is performed by men only, during temple festivals. Stories and episodes centering around Murugan and Valli are depicted in the songs. As one of the rare folk art forms of ancient Tamil nadu, this is being practised now by the Telugu speaking people of the northern districts |
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| Kavadi Aattam |
| The ancient Tamils when they went on pilgrimage, carried the offerings to the gods tied on the either end of the long stick, which was balanced on the shoulders. In order to lessen the boredom of the long travel they used to sing and dance about the gods. Kavadi Aattam has its origin in this practice. Special songs were created to be sung while carrying the Kavadi Sindhu. This dance is performed only by men. It is done by balancing a pole with pots fixed on either end, filled with milk or cocunut water |
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| The poles are made from Purasai or Teak wood. On top, bamboo strips are bent like a half-moon, covered with saffron cloth and further decorated on the sides with peacock feathers. This is mainly a religious dance, performed in worship of Lord Murugan, the second son of Siva. The dance is accompanied by Pambai and Naiyandi Melam |
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| KaiSilambu Attam |
| This dance is performed in temples during Amman festivals or Navaratri festival. The dancers wear ankle-bells and hold anklets or silambu in their hands, which make noise when shaken. They perform various stepping styles jumps. The dance is in praise of all female deities, the most preferred being the powerful angry goddess - Kali or Durga |
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| Silambattam |
| Kol silambam or fighting with a long stick and even with swords is a martial art from the days of Tamil Kings. Fights were characterised by moves of self defence, practise of skillful methods of approaching the opponent, overpowering and subduing him, and finally teaching him a lesson, all to put an end to violence. A violent fighting art has metamorphosed into a non-violent form of folk dance, adding stepping styles following the measure of time. It also teaches the performer the methods of the self defence in modern day world |
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| Theru Koothu |
| Normally conducted during village festivals, during the months of Panguni and Aadi. This is performed where three or four streets meet; in open air, the place being lit by gas lights. A wooden bench is set up to seat the singers and the musical troupe. Here, make-up and costumes are considered of prime importance. Only men take part; the female roles also played by them. The performance consists of stoy-telling, dialogue-rendering, songs and dance, all performed by the artistes. Thus the ariste should have a very good performing ability, being an all-rounder. The stories are taken from Puranas, epics such as Ramayana and Mahabharata, and also local folklore. The play starts in the late evening and gets over only during the small hours of the nights. The performance is so captivating that the audience are spell-bound unaware of the longs hours. Theru Koothu is more popular in the northern districts of Tamilnadu. The Koothu can be categorised as Nattu Koothu, including Vali Koothu, Kuravai Koothu etc. Samaya Koothu dealing with religious topics, Pei Koothu including Thunangai Koothu and Porkala Koothu dealing with martial events |
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| Snake Dance |
| Yet another typical speciality of the southern region is the snake-dance which arises from the popularity of the snake as a protective divinity, safeguarding the health and happiness of the rural folk. Usually danced by young girls dressed in a tight-fighting costume designed like the snake-skin. The dancer simulates the movements of the snake, writhing and creeping, at times making quick biting movements with head and hands. The raised hands held together look like the hood of a snake |
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| Carnatic music |
| Indian classical music is categorized under two genres. They are Hindustani and Carnatic. Broadly Hindustani developed in the northern regions of the country, while Carnatic music is indigenous to the south of India. It is considered one of the oldest systems of music in the world. It is imbued with emotion and gives scope for the spirit of improvisation However it also contains a scientific approach. This is mainly due to the contributions of inspired artists as Purandara Dasa, who is known as the Father of Carnatic Music, and other scholars who codified the system of music and gave it a clear format as a medium of teaching, performing, prayer and therapy. The basis of Carnatic music is the system of ragas, which are melodic scales and talas or rhythmic cycles. There are seven rhythmic cycles and 72 fundamental ragas. All other ragas are considered to have stemmed from these. An elaborate scheme exists for identifying these scales, and they are known as the 72 Melakarta Ragas |
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| Carnatic music abounds in structured compositions in the different ragas. These are songs composed by great artists and handed down through generations to disciples. While the improvised elaboration of a raga varies from musician to musician, the structured portion is set. These compositions are extremely popular, with a strong accent on rhythm and lively melodic patterns. The three saint composers of the nineteenth century, Tyagaraja, Muthuswami Dikshitar and Shyama Shastri, have composed thousands of songs that remain favourites among musicians and audiences. |
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| An important element of Carnatic music is its devotional content. The lyrics of the traditional compositions, whether mythological or social in nature, are set entirely against a devotional or philosophical background |
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| Music Instruments - Veena |
Veena is stringed instrument. It consists of a large round body hollowed out of a block of wood. The stem of the instrument is also made of wood. The bridge is placed on the flat top of the body of the veena and the instrument’s neck is attached to the stem. It is usually shaped and carved like the head of the dragon or a swan. The veena has seven strings. There are four are main strings that pass over the frets and are attached to the pegs at the neck. The other strings are used as side strings for rhythmic accompaniment. These strings pass over an arched bridge made of brass. These lie flat over the top of the body of the veena and are secured to the main bridge. |
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MRIDANGAM is a percussion instrument and is usually tuned with a small wooden block and a heavy stone. The block is placed against the rawhide weaving and struck with the stone. The manner of striking may either raise or lower the pitch. It is generally tuned to the tone of the piece being performed. The technique for sitting and playing this instrument is shown below. One sits cross-legged with the left foot below and the right foot over it and slightly extended. The weight of the mridangam rests upon the right foot and ankle. Since the instrument is very heavy it is also cushioned by some rolled up cloth that placed at the right foot. The right hand plays the smaller head, while the left hand plays the head with the temporary application of flour or chalk powder. |
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