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Mughal kathak
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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
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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
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.
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.
"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.'"
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.
Bollywood film has opened the gates to Bollywood dance, creating a popular style that spread throughout the world. This style would not have been able to spread so quickly if it not had been for the familiar themes and culture found in the genre. Because of this diverse make-up, Bollywood dance is being questioned, for it cannot be seen as traditional Indian dance if it is made up of so many different cultures and styles. Due to the creation from a wide assortment of cultures and practices, Bollywood dance has been the subject of a controversy focusing on its authenticity. Although it is not pure Indian movements, it has become the face of Indian dance due to accessibility and familiarity.
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 society today, limitations are bestowed to humans at birth and range from economic class, culture, and a country they were born into. All the previous examples of limitations only limit a person to the extent the person allows. People developed these situations into perceived shortcomings or they reason they can not to rise above or grow passed where they started. Maya Angelou, in “Graduation Day,” writes about situations she perceived as limitations, however, throughout the paper the obstacles she faced become the catalyst for growing belief in herself. Awareness that shortcomings develop from a mind’s own negative perception; sheds the light on the fact that limitations cultivate self-actualization.
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
Bharata Natyam originated in a manuscript called the Natya Shastra. This manuscript was written by Sage Bharata around 4000 B.C. This dance form was first conceived in order to express one’s energy and emotions and is one of the oldest of the eight other forms of classical Indian dance. Above all other purposes, it is a form of religious expression or prayer, which also incorporates another important form of storytelling. Bharata Natyam was initially performed in temples by women who were dedicated to God since birth. However, it eventually made its way to the stage and is now taught and performed worldwide.
Dances like “Oshun, Goddess of Love” were based on actual beliefs. Oshun is the goddess of the rivers, fertility, abundance, and love among the Yoruba people of Nigeria. The dance is a creative exploration of the meaning of Oshun as a force of nature. Other dances performed such as “Paper Moon” are attempts to shape the timelessness found in play, such as ritual, and performance. Different dances came from different cultures in this performance.
Kathak is the classical dance of north indian style that was characterized by rhythmic footwork danced under the weight of more than 100 ankle bells, spectacular spins, and a representation of themes from Persian and Urdu poetry alongside those of Hindu mythology. The word kathak means "to tell a story". It is derived from the dance dramas of ancient India. Kathak arose from the fusion of Hindu and Muslim cultures that took place during the Mughal period. More than any other South Asian dance form, kathak expresses the aesthetic principles of Islamic culture.
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.
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".
Dance is an ancient human practice, however the earliest record of human dance remains a mystery. By