Dance Culture in India - Essay Example

number 17 May Dance Culture in India India is the largest country by area in South Asia. It is the most influential and powerful state from the viewpoint of its economic potential in the aforementioned region. Moreover, India is the second-largest state in the world after China in terms of population with over 1.2 billion of people living in the country. The culture of India is bright and versatile; it fully reflects the ethnic diversity and centuries-old historical heritage of the country. Furthermore, it is fair to say that India is one of the oldest civilizations in the world. In this essay I will dwell on India within the context of its dance culture and the role of dancing in the history of India by analyzing the peculiarities of three Indian dances. India is the seventh-largest country in the world. Most of the territory of India is located on the Indian subcontinent or Hindustan. India is bounded by the Bay of Bengal, the Arabian Sea and the Indian Ocean. A well-known Deccan Plateau takes the Northern part of India with its picturesque Indo-Gangetic Plain and the highest mountains on Earth, such as Himalayas and Karakoram Range. As a matter of fact, India is one of the most densely populated countries in the world. About 30 per cent of its population lives in cities (Stein 8). However, the increasing number of urban residents outgrows the development rate of industrialization. Unfortunately, in economic terms, India is far from being a highly developed state and is classified as a developing country. Nevertheless, such state of things has not affected the traditions and cultural peculiarities of the country. Incredible diversity of Indian culture and religious traditions is represented in its rich architecture and expressed in ancient architectural monuments of India. The splendor of the monuments, temples and monasteries of India make the treasure house of all human civilization at large. Many of the architectural wonders of India combine Hindu, Buddhist and Islamic elements. The bright illustration of such combination is a beautiful ancient city named Fatehpur Sikri, once the capital of the powerful Mughal Empire (Stein 167). The citys collection of world heritage contains a number of temples and monuments, including Jama Masjid, which is one of the largest mosques in India. However, the most important masterpiece of the Muslim architecture in India is Taj Mahal (Stein 169). This huge mausoleum built of white marble in Agra in the first half of the 17th century is one of the most admired monuments of the worlds architectural heritage. The perfect forms, exquisite carvings, openwork lattices and precious colored stones, which sparkle in Taj Mahals snow-white walls, glitter and make millions of tourists coming from all over the world every year to stare and skip a beat. Chhatrapati Shivaji station, which was constructed in 1887 in Mumbai by a notable British architect Frederick Stevens, is yet another architectural wonder of India (Stein 256). It is considered to be one of the worlds most beautiful buildings made in Victorian Gothic style. The richness of architectural masterpieces is just as typical for India as its famous ethnic and religious diversity. There are 29 states in India and every state has a wide variety of different languages and religions to show off (Stein 23). It must be noted that India is a constellation of religions; almost every of the existing religions of the world is practiced in India, such as Zoroastrianism, Sikhism, Christianity, Islam, Buddhism and Hinduism. Hinduism is the most ancient national religion in India and is one of the most widespread religions in the world with regard to the number of its adherents. The origins of Hinduism go back to the II-III millennia BC (Stein 81). Hinduism still retains the set of ancient laws and principles of life, which are being extended into the matrix of modern cultural traditions of India. Indian society is archconservative: a great number of ritualized actions permeate its daily life. Language and family are considered to be the key concepts for understanding of the fundamentals of Indian culture. Indian subcontinent is a home for a great variety of ethnic groups that speak more than a thousand of languages and dialects, all of which had contributed to the creating of amazing masterpieces of poetry, philosophy and music of India, which altogether shaped its bright and inimitable cultural archetype. Traditional Indian cuisine is an integral part of the rich and diverse culture of India. Cuisine of India is famous for its huge variety of dishes and styles of cooking that boggle the imagination. The calling card of Indian cuisine is a subtle mixing of various spices needed to enhance the flavor. Indian food is unthinkable without the use of spices, herbs and seasonings that give dishes a subtle aroma. The role of Indian cuisine in the shaping of the cultural archetype of such a diverse nation is as important as the role of Indian musical and dancing traditions. The role of dancing in Indian culture can hardly be overstated. Just like rich musical traditions of India, Indian dance culture originated thousands years ago as a part of various religious ceremonies in temples. Classical Indian dance art involves a complex set of postures and movements, each of which has its own symbolic meaning. It must be noted that in addition to classical dances folk dancing basks in popularity in India as well. Classical and folk dances of India, combined with the elements of Western popular dances, shaped the basis for the dances of Indian cinema, which had long become one of the most recognized trademarks of present-day India. The God Shiva is considered to be the founder and patron of the art of dance in India (Cupasini 137). For many centuries the dance had been a form of prayer typical for religious practices and rituals. A new milestone in the common history of Indian dance was associated with the advent of Islam, when the dance in India undergone major changes. Its aesthetics and technical virtuosity became more valued than its religious interpretation. Thus, dance stepped out of the temples and palaces, where noble families resided, and became an entertainment. Since the beginning of the English colonization, the art of dance has been forgotten and neglected. Only in the twentieth century, thanks to the efforts of the many dancers and changes in the historical context, the Indian dancing culture witnessed rise and the classical dance was revived. The history of Indian dance was not as glorious as its origin. Rich dancing culture of India originated from Hindu temples (Cupasini 168). By performing their dances the specially trained temple female dancers or Devadasi were to please gods and interact with various deities. On the other hand, it must be noted that there was a long list of dances in India like Kathakali, Kuchipudi or Odissi that once were performed exclusively by male dancers, which female dancers, including the aforementioned Devadasi gradually took over (Cupasini 168). Devadasi played very important role in Indian culture. At first Devadasi danced during various sacred rituals in temples. However, as time passed, mighty kings wished to have similar dance performances at their backyards and enticed Devadasi from temples to their palaces with huge sums of money that dancers, who usually represented middle class, could not turn down. Gradually moving from temples into the residences of noble people, classical Indian dance became rather an entertainment than an art form, which marked the decline of the ancient art of dance in India. Very few have preserved ancient traditions of learning that had previously only passed on from mentors to dancers by the word of mouth. Since that time entertaining of the male audience became the main aim of female dancers. For a long span of time only representatives of the lowest caste in India did not consider it shameful to be a dancer. Fortunately, today, after a certain period of gradual revival of classical Indian dance that began in the twentieth century, the dancing culture in India has found a new lease of life. Today dancing has long been incorporated into Indian popular culture and is being practiced by thousands of people all over the country on a daily basis. In this essay three different dances will be focused on in detail, namely, Bagurumba, Kuchipudi and Bihu. Bagurumba is an ethnic dance of Bodo, an ethnic group that resides in the Indian state of Assam. Bagurumba is usually performed during the onset of spring to celebrate the renewal of nature and life. Traditionally, the dance is performed during the festival Bwishagu, which is dedicated to the celebration of the feast of Bishuba Sankranti, which takes place in mid-April (Pathak, n. p.). This dance is also performed to celebrate the end of a grueling work on plantations; thus, Bagurumba can be viewed as a means of relaxation for people after hours and has a lot to do with planting and harvesting. Bagurumba is often called the dance of the butterflies as the gestures of people of the Bodo tribe performing this dance have a strong resemblance with the movement of birds and butterflies. This is, perhaps, the most elegant and fascinating dance of the Bodos. Being characterized by a dynamic rhythm and vigor, this dance consists of swinging movements and twists of a body, as well as movements that resemble butterfly wings flapping. Bagurumba is mostly performed by means of slow steps, when dancers move with wide open arms. Basically Bagurumba is performed by female dancers, usually a group of ethnic Bodo girls dressed in colorful traditional clothes like dokhna and aronai). They perform this dance to the accompaniment of traditional musical instruments typical of Bodo culture (Pathak, n. p.), such as serja (a bowed instrument), sifung (a flute), tharkha (an instrument made of bamboo), kham or madal (a long drum made of wood and goatskin), and gongona (a musical instrument in the form of a curved horn). As a rule, Bagurumba is performed in order to appease Bathou, which is the supreme deity of the Bodos (Pathak, n. p.). This dance is not only viewed within the context of planting and harvesting rituals but is also related to solemn religious practices.1 Although, the history of this dance goes back to the ancient times, there are almost no changes introduced in the dance today. It still remains one of the most popular folk dances in the Northeastern part of India. Kuchipudi is a sophisticated classical Indian dance originated from the state of Andhra Pradesh, which is located on the Southeast of India. Unlike Bagurumba, which is usually performed by women, this dance is often performed by both female and male dancers. Kuchipudi is the eponymous name of the village and a nickname of one of the Indian castes, namely, Brahmins (Cupasini 138). The dance is very popular in South India to date. The dance history is dated to the 5th century BC. It was first mentioned and analyzed in detail more than three thousand years ago by a prominent Indian musicologist named Bharata Muni in his book titled as Natya Shastra, which touched upon the art of dance drama (Cupasini 138). However, Kuchipudi is more than just a dance. It is a unique synthesis of music, literature, theatrical art, and even yoga. Long time ago Kuchipudi dance was related to a religious ritual and considered to be a source of spiritual knowledge. According to an ancient tradition of Kuchipudi a dancer has to perform dancing and recite verses at the same time (Cupasini 139). This is one of the peculiar features of the style. The dancers are dressed up in colorful clothing and the dance itself symbolizes the aspiration of a dancer to interact with God.2 The repertoire of this dance combines both ancient dance compositions and contemporary choreography. The tradition of Kuchipudi may include a variety of genres of dance compositions. There are lots of subtypes of Kuchipudi dance, and Tarangam is one of the most famous of them. The dancers performing Tarangam are to balance with a small container, which full of water. Their gestures are smooth and accurate. Since the time immemorial there existed two schools of Kuchipudi dance, namely, Nattuva Mela and Natya Mela (or Bharat Natyam), which had different approaches to the presentation of the dance per se. Kuchipudi is probably one of the most popular classical dances in India today. The third and the last dance that this essay will focus on is called Bihu. It is an ancient folk dance of the Indian state of Assam, the same region, where Bagurumba originated from. It is a group dance of male and female dancers in colorful traditional cloths.3 Bihu is often called a dance of happiness or a dance of spring. It is a joyful dance that is performed by young boys and girls and characterized by lively dance steps and rapid hand movements, as well as the traditional colorful Assamese dress of dancers. The first official reference to the Bihu dance in historical documents was made in 17th century when the King of Ahom, which was the territory of present-day Indian state of Assam, invited Bihu dancers to perform at the festival of spring. Thus, the Bihu dance is closely associated with the beginning of a crop-planting season and a springtime festival that is held to celebrate the transition of seasons (Barua 213). Unlike many other dances that are related to such kind of seasonal festivals, Bihu dance has nothing to do with religion. The roles of male and female Bihu dancers are well-defined. Women adhere to strict linear or circular formations in the dance. Basically, dance looks like this: young people are moving towards each other in rows and forming a series of different formations. Bihu dance is usually characterized by active movements of hips, hands and wrists; rotations, squats and bends, but with no jumps. Movement of men and women performing Bihu dance are very similar with some subtle but insignificant differences (Barua 219). Bihu dance is performed to the accompaniment of traditional Bihu music. The rhythm of the dance is built up by drummers, who play special drum called dhol. It is an instrument with two drum surfaces from both ends. Musicians and dancers in one face hang the instrument on their neck with a strap, and use a stick and ones palm to play such a drum.4 As a rule, there are two drummers involved in Bihu dance. They play often different compositions and change rhythms within the framework of one single Bihu dance. Other instruments used for musical accompaniment of the dance include hand cymbals and instruments made of bamboo, such as flutes or clappers called gogona and toka respectively. While performing the dance Bihu dancers also sing old Indian songs that relate to transition of seasons and toil-worn life of people cultivating land. Unfortunately, nowadays this ritual dance is on the brink of extinction and tends to fade away from the cultural setting of India. A great number of villages in Northeastern part of India, the inhabitants of which once have been engaged in rice cultivation, undergo the intensive process of urbanization these days (Barua 220). All in all, Bihu is one of the most colorful folk dances of Northern India that has a huge historical value, and extensive measures are taken by the community of the state of Assam to preserve the festival, which Bihu is linked to, and the Bihu dance itself. The role of dancing in Indian culture is huge. First of all dancing culture is closely linked to identities of different ethnic groups across the country. In fact, being the country with the second-largest population in the world India is home for an enormous number of nationalities and cultures that seem to be united by one common feature, which is the influence of dance upon the cultural archetype of the country. There are a great number of classical Indian dances that seemed to have been forgotten but got second wind in the twentieth century and managed to break through into popular culture of India. Once being related to various rituals that revolved around planting and harvesting, rites of passage and communication with the world of spirits, today dances like Kuchipudi, Bihu or Bagurumba have nothing or little to do with any rituals and are perceived by Indians as something that gives entertainment. The connection of classical Indian dances to ancient traditions and religious rituals has substantially weakened over the past decades. Nowadays classical Indian dance has crossed the national boundaries of India and got popular across the world having become one of the calling cards of India. Marvelous aesthetics and mysterious symbolism of classical Indian dance is really impressive and, to be honest, can cast a spell on anybody who is lucky to see Indians dancing. Indeed, there is probably no such country in the whole world like India, where, despite different religions and ethnic groups, languages and traditions, more than a billion of people is being exposed to one common weakness: it feels like Indians just cant help dancing. The peculiarities of this unique country make me want to visit India in order to get a taste of its culture and get a first-hand account of it. Appendix Picture no. 1 (Bagurumba). Retrieved from Picture no. 2 (Bagurumba). Retrieved from Picture no. 3 (Kuchipudi). Retrieved from Picture no. 4 (Kuchipudi). Retrieved from Picture no. 5 (Bihu). Retrieved from < http://lucknow.buzz/when-lucknow-dances-to-the-tune-of-bihu/ > Picture no. 6 (Bihu). Retrieved from < http://bharatdiscovery.org/w/images/thumb/9/99/Bihu-Dance-Assam.jpg/> Works Cited Basumatary, Nippon. "Bagurumba Dance of Bodoland." Online video clip. YouTube. YouTube, 5 Apr. 2014. Web. 16 May 2015. . ATA Mid Atlantic. "Kuchipudi Performance by Haleem Khan at ATA 2014 ." Online video clip. YouTube. YouTube, 2 Sep. 2014. Web. 16 May 2015. . Dip Jyoti Hazarika. "Bihu Dance Performance by Dip Jyoti Hazarika." Online video clip. YouTube. YouTube, 4 Nov. 2013. Web. 18 May 2015. . Barua, Maan. "The Ecological Basis of the Bihu Festival of Assam." Folklore 120 (2009): 213-227. Print. Cupasini, Patmanatan. Bharat Natyam: A Basic Study. Colombo: India-Sri Lanka Foundation, 2008. EPUB file. Pathak, Guptajit. "Bagurumba Dance and Deodhini Dance of the Boros or the Bodos of Assam - Traditional Ethnical Identity of Boros or Bodos." ArticlesBase.com (2007): n. pag. Web. 18 May 2015. Stein, Burton. A History of India. 2nd ed. Oxford: Blackwell Publishers, 2010. Print. Read More