Project 1 - Review paper

Writing the Paper

Observe and write an analytic reaction paper of either (a) an Indian dance
performance or (b) an assigned videotape of a dance performance. Must be typed and
well-written.

"Must be at least two pages, double-spaced "Direct the essay to a selected

audience.

"State the facts: what style of dance, where it was performed, at what time,
length of show, name of choreographer, etc. Grab a program sheet at the show and
retain it for this kind of information.

"Describe the performance in graphic details that communicate your experience as

visually as possible. Recreate the basic experience for your reader.

"Respond critically. Feel free to voice opinions and justify them. *Note that
obvious cultural bias or prejudice are not included as justification.

"Summarize the experience. Motivate your reader to either go to the performance

or stay at home.

. Guidelines for Writing Reviews

Before the peformance try to maintain a fresh, open attitude to help minimize
bias.

Prepare and take with you a checklist to help capture description: colors,
costume, make-up, kinetic (i.e. body) movement, use of space, use of time (i.e.
rhythm), music/poetry etc. Jot things down for later analysis.

After the performance ask yourself the following questions; allowing this process
to guide the composition of your paper:

1. Did the performance provoke your assumptions about movement? What

assumptions? How?

2. What were your viceral or gut responses...wonderment, revulsion?

Why?

3. Did some dance segments stand out more than others? Why?

4. Were some dancers better at grabbing your attention or

moving you? Why?

5. What connections did you find between the performance and

socio-cultural history of
the dance?
SOME FEATURES OF INDIAN DANCE

' 1. Indian dance flourished in and around temples in its formative past.

2. Rhythm carries several symbolic meanings that have implications for the way
dance is
perceived. Because it is cyclic, rhythm symbolizes the philosophic theme of
infinity. It is
highlighted by the dancers bare feet encircled by ankle bells stamping out
gravity-reverberating cyclic patterns on the floor.

3. The body as a whole is viewed as a complex bone structure. This paradigm

results in an
examination of the body as a potential resource for movements. Micromovements of
the
shoulders, neck, fingers and eyes are hence an important aspect of the dance. The
focus on hands, for example, has produced an infinitely rich dictionary of hand
gestures or 'hasta mudras'. The hand gesture code is used both to embellish
abstract dance as well as to tell the narrative underlying dance.

4. Space is viewed m four specific areas:

A. The kinectic space of the dancer.

B. The stage space.

C. The psychological or 'inner' space.

D. The outer, mystic space transcending the immediate stage space.

Other key points are: the manipulation of body weight in movement to accentuate
gravity. Movement is punctuated by still poses that are visible in and around
temple sculptures.

5. Themes frequently used are typically drawn from two well known Hindu epics,
the Ramayana
and the Mahabharata.

6. The poetry is derived from the classical literature of India.

ADAVUS

There are over a dozen classical dance forms in India. Each is characterized by
distinctive

linguistic, geographic and structural features.

However, all the styles approach dance as a dual combination of pure technique -
Nritta - and

expressive dance- Nritya. The majority of dance styles ( mainly South Indian)
further rely on

'

basic dance drills- Adavus - that underlie Nritta . The profusion of forms is
matched by a

multiplicity of Adavus. Even within a single style there are various schools; the
way in which

Adavus are performed, classified and understood, vary from guru to guru.

Adavus are the bedrock of Indian dance, it is only by perfecting this movement
vocabulary that

mastery over the language of dance is achieved.

Some Pefinitiops

In Adavus the movement pattern is first executed on the right side and then
repeated on the left

side. They are set to a tola or rhythmic design and laya or tempo. Laya consists
of three types,

slow, medium and fast.

Adavus are executed to rhythmic syllables or mnemonics called Shollakattu.

Several adavus woven together constitute a Jathi, which are then employed in both
nritta and

nritya dance compositions. Jathis are supposed to be aesthetically pleasing both

visually and

orally.

As the feet of the dancer translates the Shollakattu, the person who verbalizes
the rhythmic dance

commands is called the \attawunur.

GLOSSARY OF INDIAN DANCE

ABHINAYA: Mimetic dance representing a theme or emotion to the audience through

movement.

Nritta: Pure or abstract dance

Nritya: Emotional or expressive dance.

Nataraja: Shiva as the cosmic dancer.

Natya: Combination of both dance and acting.

Guru: A teacher. In Sanskrit, 'immense'.

Devadasi: A dancer dedicated to God The now obsolete tradition of consecrating

dancers to

temple patronage.

Rasa: Bliss, transcendant rapture in experiencing dance and other arts.

Sanskrit: Classical Indian language.

Natya Shastra: The most important Sanskrit treatise on dramaturgy by Bharata Muni.
Written

between 3rd century B.C. and 2nd century A.D.

Abhinaya Darpana: 1000 AD. dissertation on dance

Tala: Time measure of eight, ten or thirteen beats. It is circular and repetitive
in character.

Lava: Tempo.

Samam: The first accented beat of a recurring cyclic time pattern

Aavartan: One complete cycle of a particular 'tala' design

Bhakti – means devotional love for a personal Lord one worships. This bhakti is
yoga, a means to attain salvation. This concept was expressed in Bhagvat Gita
part of the epic ‘Mahabharata’-

Vedas – are the earliest scriptures of Hindus. There are 4 Vedas Rig Veda, Sam
Veda, Yajur Veda and Atharva Veda. They date from about 2000 B.C.

Caste – refers to the Hindu society divided into 4 hierarchical groups. 1st .
Brahmin or the priest philosopher. 2nd . Kshatriya - ruler administrator is the
next group. 3rd . Vaishya refers to the traders, merchants etc. 4th . The Shudras
or lower caste doing menial labor and serving the other caste.

Ganesha- elephant headed god also known as Ganapati. He is Shiva and Uma’s son
and quells all obstacles from one’s path. So he is invoked at the beginning of
ventures.
Item Project 2 - Oral Presentation

Oral Presentation

Duration: 6 minutes

Question:

Please explain whether or not the concept of feminine divinity (as expressed in

Hindu thought) is an empowering idea for today's woman. Does Indian Classical

dance become a constructive tool for an immigrant woman?

Outline A

Thesis Statement

Yes, the concept of the Goddess is empowering for contemporary women.

_, support:

• Although it is rooted in ancient Vedic texts and is thousands of years

old, the
concept of Goddess (i.e. Devi) continues to be a vital influence - pervading
Indian myth, art, popular culture and current religious and philosophical thought.

• The idea of feminine divinity, which has expression even in western myths
and

Native American myths, can energize not just women of Indian origin but others;
rendering strength to the psyche.

• Even thought women have acquired many freedoms denied to them traditionally,
the burdens of juggling work, family, and community remain. The spiritual/
psychological comfort offered by the Goddess concept is still relevant.

• Evident in the works of poets- such as Mahadevi Akka- and choreographers-such

as Chandralekha- is the Goddess as a challenge to patriarchal traditions. This
feminist perspective is relevant in the immigrant community where women continue
to struggle against patriarchal structures. Conclusion

Outline B Thesis Statement

No, the concept of the Goddess is not empowering, it is weakening to a woman of

the 20th Century.

Support:
The elevation of the Goddess as a nurturer-rather than the powerful

warrior/"shakti"- is a symbolic tool used by patriarchal structures to exploit

women even today. Examples are. . .

• The placing of women on a pedestal as "Goddess" is a dubious honor at best. A

women is expected to be perfect-fte ideal "caregiver, nurturer, wife, mother." She
is essentially stopped from being human and is manipulated by both the immediate
family and society at large.

• The classical dance styles are too graceful, "feminine" to be capable of

communicating issues of real substance or radical content.

Item Project 3 - Lab

Jathi: A Rhythmic Passage

A Jathi is defined as a rhythmic passage. The following Jathi is set to Aditala,

a cycle of eight beats (4 + 2 + 2 = 8). (This Aditala is set in “chaturashra
jathi” in which each beat contains 4 inherent counts.)

Outline of Taka dhimi Jathi

[1. Takadhimi 2. Takajhanu 3.

Taka dhimi 4 Takajhanu ]

[5. Taka dhimi 6. Taka jhanu 7.

Tah kirtaka 8 Teyyi ] X 2

[ 1. Takadhimi 2. Takajhanu 3.
Tah kirtaka 4.Teyyi_ ]

[ 5. Taka dhimi 6. Takajhanu 7.

Tah kirtaka 8. Teyyi ]

1. Tahkirtaka 2. Teyyi_ 3. Tah kirtaka

4. Teyyi_

5. kirtak teyyi 6. Kirtak teyyi 7. Kirtak teyyi

8. Kirtak teyyi

1. Kirtak teyyi 2. Tat kirtak 3. Teyyitah

4. Kirtak teyyi

5. Kirtak teyyi 6. Tat kirtak 7. Teyyitah

8. Kirtak teyyi

Item Lab

Notes for final movement presentation from the repertoire of

Devi Dance Theatre

Choice A

1. “Walk the Sky”

Poem by – Mahadevi Akka-

“Walk the Sky” took its inspiration from Mahadevi Akka’s poem called ‘Vachanas’.
An extraordinary woman for her times in 12th century feudal India, Mahadevi Akka
has recently been reclaimed by contemporary feminists.

Language - Kannada

Music – Contemporary classical Indian

Conceived and researched by Nilimma Devi

Scripted by Anila Kumari

Choreography – Nilimma Devi, Anila Kumari & Khilton Nongmaithen

Poem by Mahadevi Akka

You can confiscate

money in hand;

Can you confiscate

the body’s glory?

Or peel away every

strip

you wear,

But can you peel

the Nothing, the

Nakedness

that covers and veils?

To the shameless girl

wearing the White

Jasmine Lord’s

light of morning,

where’s the need for

cover and jewel?

Choice B

2. “Mandala – A Voyage Within”

Poem by Mettika - a Budhist nun that is found in “Therigatha”- a collection of

poems from 6th Century B.C.

“Mandala” in Sanskrit means ‘essence contained.’ Mandalas are graphic designs to

develop mental force. This work was inspired by the Tibetan Mandalas and the Pali
poem. The Buddhist poem has been turned into a visual feast combining the
lyricism of classical Kuchipudi dance and the dynamic strokes of Thang-Ta – a rare
form of martial arts. The poem is the earliest known anthology of women’s
literature in India, and perhaps in the world. This anthology is comprised of a
collection of songs composed by Buddhist nuns written in the Pali language in
Sixth Century B.C. The poignant autobiographical poems recount a soul’s journey
through grief to ultimate liberation. The authors of these exquisite lyrics sought
truth neither in social conformity, nor in moral law, but rather in uncharted
journeys of selfhood. Each poem is an autobiographical epiphany of soul.

Language – Pali (Spoken form of Sanskrit)

Music – Contemporary classical Indian

Conceived and researched by Nilimma Devi

Scripted by Anila Kumari

Choreography - Nilimma Devi, Anila Kumari & Khilton Nongmaithen

Poem By Mettaka

Learning on my staff
I climb this mountain path

It has been my arduous journey

and it is true, my youthful step is long gone

But I have preserved past boulders to reach the peak

At last, casting off my cloak, I sit here alone

as the breath of spirit blows over me

I am free.

Devi Dance Theatre

For more than two decades, Devi Dance Theater has created classical Indian dance
that is rich in innovative and evocative visual imagery. It has forged new
alliances between music and dance; tradition and the cutting edge. The company
grew in its art form by creating works such as “Diary of Sita” - Devi Dance
Theatre explores Sita-classical heroine and effulgent daughter of Earth. Provoked
by the idea of Sita as silent, submissive paragon, Sita’s Diary delves in to
traditional myth and moves it to a new frontier of interpretation. Not a mute
mannequin – nor a stoic wife – Sita is brought to the stage as a strong, divine
presence worthy of emulation.

Devi Dance Theatre explores Spirituals by using Kuchipudi dance idiom to the
lyrics of–Long White Robe and Swing Sweet Low Chariot - Devi Dance Theatre
portfolio also includes ‘Gossamer of Soul’ – a 16th Century mystic poem by Kabir
that exalts the God as divine weaver, ‘Water under duress’ which touches on the
sacredness of our waters and environmental pollution.

Note:

“Not familiar with the Indian classical dance style Kuchipudi? Go see Devi Dance
Theatre anyway…The number and complexity of the movement vocabulary created by
Devi is so impressive that it never grew boring” - Washington Post

Nilimma Devi’s “Walk the Sky”: Poetry in Motion - LisaTraiger, Washington Post
2002.