Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
Mughal kathak
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: Mughal kathak
Everything in the universe has rhythm. Everyone Dances!
-Maya Angelou
The Indian culture is an amalgamation of several cultures thus making India a diverse nation offering a myriad of elements relating to the cuisine, the adroitness of its artisans, literature, clothes and glorified architecture. The major forms of classical dances are namely Kathak, Bharatnatyam, Odissi, Kathakali, Manipuri, Mohiniattam, Kuchipudi.
I started learning this vibrant dance, Kathak when I was 9 or 10 years old and believe me it has really revolutionized my lifestyle. The tabla’s thekas along with the humble company of the harmonium (Indian piano), the melodies flute and sitar and the rhythmic ghungroos create an ambience so divine and pure that it feels
…show more content…
Kathak is formed from ‘Katha’ , the art of telling a story, ‘Katha’. There are various Myths and beliefs associated with its origin of which the most prominent one is the one given in the volume , ‘Abhinaydarpan’, which states that Lord Brahma created Natya-Veda, the fifth Veda on Natya (play) by incorporating words from Rig-Veda, music from Sama-Veda, action from Yajur-Veda and emotion from Atharva-Veda. He then entrusted the same to Sage Bharata. Numerous celestial beings namely the Gandharvas, nymphs(Apsaras), yakshas helped Sage Bharata to stage a prototype of the same at the launch of which many gods were present. It was here that Lord Shiva added his inputs and through his disciple Tando, taught the ‘Tandav’ nritya(dance) to all the gods and men. He also told Goddess Parvati to teach the ‘Lasya nritya’ to King Anirudha’s wife Usha who then passed the same to the Gopis of Dwarka. Ultimately in this way dance was brought to the …show more content…
Thus the common man was presented with the puranas, itihas and mythology through the medium of enacting dramas. Soon artists took this old tradition on a larger platform i.e. to the place where the people of the bygone era used to meet frequently namely the temples. After yet another 100 years, the then kings, 'Maharajas' started using this art form as a means of entertainment. Earlier under the reign of the Hindu kings this art mainly consisted of describing the events and incidents occurring in the life of Lord Krishna right from his birth, adolescent, adulthood including his heroic deeds so as to connect with the common man and involved a lot of ‘Bhakti rasa’. But after the invasion of India by the Mughals. this scenario underwent a drastic change. The pious virtue of devotion was entirely eliminated and more of ‘Nazakhat’ as well as ‘Shrungar’ (Sensuousness and beauty) became a prominent part. Yet the end was good as some traditional people secretly protected the ancient art form and at the same time the Mughals also enriched Kathak by including new and varied movements, skills and items. Thus the cumulative result was that Kathak became an art wholly complete from all
This piece of autobiographical works is one of the greatest pieces of literature and will continue to inspire young and old black Americans to this day be cause of her hard and racially tense background is what produced an eloquent piece of work that feels at times more fiction than non fiction
The poem “On The Pulse of Morning” written by Maya Angelou, this poem explains the effects of cultural diversity among the American people during the late 20th century. Maya states in the sixth stanza of her poem; “Each of you, a bordered country, Delicate and strangely made proud, Yet thrusting perpetually under siege. Your armed struggles for profit Have left collars of waste upon My shore, currents of debris upon my breast. Yet today I call you to my riverside, If you will study war no more.” (Angelou, 6)
"I had decided that St. Louis was a foreign country. In my mind I had only stayed there for a few weeks. As quickly as I understood that I had not reached my home, I sneaked away to Robin's Hood's Forest and the caves of Alley Oop where all reality was unreal and even that changed my day. I carried the same shield that I had used in Stamps: 'I didn't come to stay.'"
"Angelou, Maya (née Marguerite Annie Johnson)." Encyclopedia of African-american Writing. Amenia: Grey House Publishing, 2009. Credo Reference. Web. 12 March 2014.
In Maya Angelou’s third book of poetry And Still I Rise, the personal struggles of the African American Woman are brought to life through poetic works. With inspirations drawn from personal journeys of Maya Angelou herself, powerful poems praise, celebrate, and empathize with the feminine colored experience. Angelou’s writing sheds glaring light on themes of feminine power, beauty, and perseverance, raising the African American Woman to a pedestal that demands respect and adoration. For Angelou’s audience, the everyday woman is presented equipped with all the necessities to thrive and shine in the face of adversity. In Maya Angelou’s works “Phenomenal Woman”, “Woman Work”, and “Still I Rise”, audiences are able to connect to the strength and virtue of the woman that is brought to life through the praising of femininity, and through its power to make an impact on society.
Kathak (Sanskrit translation: ‘Katha’- story; ‘Katthaka’- story-teller) can be traced to as far back as the 3rd century and is one of the eight Classical dances in India. It originated in Northern India -Rajasthan, Delhi and Uttar-Pradesh. It was originally performed in temples to narrate mythological stories presented in the Ramayana and Mahabharata with mimetic gestures and singing. ‘Katthakas’ were mostly high-caste, educated Brahmins. Nowadays, class division is less intruding in one’s pursuit of becoming a ‘Katthaka’.
In conclusion, madam Som Said’s workshop has allowed me to achieve a basic understanding of Malay dance and this essay has broadened my knowledge in Malay dance allowing me to see the beauty in Malay dance which I have never did before. It is refreshing and interesting to learn a new dance form and to understand the evolution of it.
First through all the readings and articles the Abhinaya dancers define culture through classical music. In Rajika Puri, A Typical Recital. Visual Anthropology, Puri talks about how the culture is tied to classical music when it comes to the Abhinaya dance. Puri writes, “They are consequently tied to local cultures and evolve without conscious reference to the constraints of the classical cultural tradition” (Puri,180) In other words, the Abhinaya tradition music is based upon classical music which continues to hybridize without any conscious refence to it. In addition, Abhinaya dancers define culture through religion. In Uttara Asha Coorlawala’s journal, Darshan and Abhinaya: An Alternative to the Male Gaze, the Coorlawala talks about how the gaze of the audience will in return give the Abhinaya dancer more divinity. Coorlawala writes “Thus the performer is empowered not only by the collective empathizing gaze of the devotee-audience but also by ritual associations of the danced images with divinity, and by his or her mastery of the form and commitment to the gaze” (24). In other words, as the person is making a connection with the audience he will be able to use that to his or her advantage when dancing the Abhinaya dance. Finally, through Mythili Anoop’s book, Rasa, and Abhinaya as Semiotic Principles in Classical Indian Dance, Anoop talks about how through different cultures dancing has
According to the program handed out at the performance, Japan has claimed its origins in Janken or Roe, Sham, Boe (Rock, Paper, Scissors). The game is called Muk-chee Bah in Korea. Renditions of the hand game are also played in Indonesia, Austria, France, Canada, Yugoslavia, and elsewhere. All these different cultures have claims to have invented the game, and it is such a popular game, somebody made a modern dance performance related to the certain aspects that Scissors, Paper, and Rock have.
Initially, it started out as a temple dance tradition called Dasiyattam, the dance of the maid-servants. It is a dance form of all classical Indian dances. The word “Bhar” is related to “Bhakti” which means devotion. This specific dance form combines expressive expression with a feeling of spirituality. This form of art has been handed down by nattuvanars, teachers, and devadasis, ritualistic dancers.
The exhibit offers education to the masses, preservation of Native Indian culture, and research ideas into the origins of native dance. Proper consent for use of the photographs and due diligence in referencing the displayed information is standard for any display. This exhibit offers examples from many cultures and religious backgrounds. One area that could be of ethical concern is the interpretation by the local cultures of origin for each of the dances listed. The section that list the background and location of the author is very informative and perhaps offers some assurances to the local inhabitants that proper representation of their ceremonies is being
In relation to literature that most are familiar with throughout the world, Bharata Natyam fulfills all the same important purposes. It gives a sense of history and culture by the nature of the myths the performers convey. Many of the dances pay tribute to a certain god and for this reason ...
It is said that when we look in the mirror, we see our reflection; but what is it that we really see? Some people look through the glass and see a totally different person. All across the world identity is an issue that many women have. Woman today must be skinny, tall, thick, fair skinned and have long hair in order to be considered beautiful. Maya Angelou feels otherwise, as she gives women another way to look at themselves through her poem "Phenomenal Woman".
Like many Indian arts, Indian dance also has its root in religion. Without the religious and cultural background of India, the growth and beauty of Indian dance is not possible. In ‘Natya Shastra’, there is a small story about the origin of Indian dance. According to Hindu mythology, dance first existed in heaven. There was always a constant conflict between the Asuras and the Devas for wealth and power. The Devas were tired of the Asuras’ greediness and jealousy.
Dance is an ancient human practice, however the earliest record of human dance remains a mystery. By