Performing Arts I: Indian Classical Dance & Martial Arts
Overview of Dance and Martial Traditions
Overview of Dance and Martial Traditions
| Grammar of Indian Dance: Natya Shastra & Abhinaya Darpana | - *Natya Shastra:* by sage Bharata; foundational treatise detailing body postures, gestures, makeup, emotional expressions - *Abhinaya Darpana:* by Nandikeshvara; primary text describing gestures (*mudras*) & dance grammar |
| Dual Aspects: Tandava & Lasya | - *Tandava:* masculine aspect, power, force, rhythmic vigor (Shiva) - *Lasya:* feminine aspect, grace, soft movements, emotional sweetness (Parvati) |
Indian Classical Dance: Canonical Forms and Concepts
Indian Classical Dance: Canonical Forms and Concepts
| Bharatanatyam (Tamil Nadu) | - Oldest classical dance; solo performance (fire element); Alarippu, Jatiswaram, Shabdam, Varnam, Padam, Tillana - **Ekaharya:** one dancer playing multiple roles - Revived by Rukmini Devi Arundale & E. Krishna Iyer |
| Kathak (Northern India) | - Derived from 'Kathakars' (storytellers); **Tatkar** (footwork), **Chakkars** (spins), thumris - Indo-Islamic synthesis in Mughal courts; Lucknow, Jaipur, Banaras gharanas |
| Kathakali (Kerala) | - Stylized dance-drama depicting conflict between gods and demons - Makeup: green (**Pacha**) = noble; red/black (**Kathi**) = evil |
| Kuchipudi (Andhra Pradesh) | - Originally performed by male Brahmins (*Bhagavatulus*); dancing & singing - **Tarangam:** dancing on rim of brass plate while balancing water pot on head - **Jala Chitra Nrityam:** drawing pictures with toes while dancing |
| Odissi (Odisha) | - **Tribhanga** posture (3-bend body break) & **Chowk** stance (square deity posture) - Heavily patronized by Maharis (temple dancers) |
| Sattriya (Assam) | - Introduced by Bhakti saint **Srimanta Sankardev** (15th century) - Kept alive in **Sattras** (monastic institutions); focuses on Krishna stories |
| Manipuri (Manipur) | - Vaishnavite **Raslila** themes; soft flowing movements with cylindrical skirt (*Kumil*) - **Ghunghroos (bells) are NOT worn** |
| Mohiniyattam (Kerala) | - Dance of enchantress (*Mohini*); solo feminine dance - Soft, swaying movements mimicking coconut leaves; dominated by *Lasya* aspect |
| Technical Classification: Nritta, Nritya, Natya | - **Nritta:** pure technical, abstract dance sequence (rhythm, speed, patterns; no emotion/narrative) - **Nritya:** expressive dance conveying theme/story through hand gestures (*mudras*) & facial expressions - **Natya:** dramatic play/theater incorporating spoken word/dialogue & narrative action with dance |
| Four Dimensions of Abhinaya | - *Angika:* physical movements & limb gestures - *Vachika:* speech, song, vocal modulation - *Aharya:* costumes, jewelry, physical makeup - *Sattvika:* internal emotional states (tears, goosebumps, trembling) |
Indian Martial Arts and Folk Traditions
Indian Martial Arts and Folk Traditions
| Kalaripayattu (Kerala) | - Oldest surviving martial art; steps mimic animal movements - Uses **Urumi** (flexible, ribbon-like sword) |
| Silambam (Tamil Nadu) | - Staff-fencing style using bamboo poles; mentioned in Sangam literature |
| Gatka (Punjab) | - Sikh stick-fighting style associated with Khalsa & festival displays (Hola Mohalla) |
| Thang-Ta (Manipur) | - Weapon-based martial art ("sword and spear"), part of *Huyen Langlon* system - Combines physical moves with meditative breathing |
| Mardani Khel (Maharashtra) | - Maratha weapon art emphasizing **Patta** (gauntlet sword) & shields |
| Garba (Gujarat) | - Navratri lit lamp dance; inscribed on UNESCO Intangible Heritage (2023) |
| Chhau Dance (WB, Odisha, Jharkhand) | - Masked martial dance depicting mythological battles; UNESCO Intangible Heritage |
| Kalbelia (Rajasthan) | - Nomadic snake-charmer tribe, black dresses, sensuous snake movements; UNESCO Intangible Heritage |
| Bihu (Assam) | - Energetic folk dance celebrating harvest & spring festivals |
UPSC Recall & Traps
UPSC Recall & Traps
| Sattriya Monastic Roots | - Monastic connection to **Sattras** of Assam; created by Bhakti saint **Srimanta Sankardev** |
| Kutiyattam Theater | - Only surviving Sanskrit theater form in Kerala; UNESCO Masterpiece of Oral & Intangible Heritage |
| Ghunghroo Ankle Bells Trap | - Common trap: **Manipuri** dancers do NOT wear ankle bells |
| Tribhanga Posture Trap | - Exclusive & defining posture of **Odissi** |
🎯 UPSC Prelims 2026 Questions & Explanations
UPSC Prelims 2026 Questions & Explanations
| Question 9 (Prelims 2026: Pt. Mallikarjun Mansur) | - **Question:** Pt. Mallikarjun Mansur (classical singer, Karnataka) represented: - **Answer:** (d) Jaipur-Atrauli Gharana - **Explanation:** Exponent of Hindustani music from Dharwad, master of rare ragas & khayal; trained under Manji Khan & Bhurji Khan (sons of Ustad Alladiya Khan); awarded Padma Vibhushan |
| Question 11 (Prelims 2026: Carnatic Raga Bilawal) | - **Question:** Carnatic raga similar to Raga Bilawal in Hindustani music: - **Answer:** (d) Dheera Shankarabharanam (Jana Gana Mana is set in Dheera Shankarabharanam / Raga Bilawal) |
🖼️ Supplemental Asset Directory
Supplemental Asset Directory
- Bharatanatyam Dance:
- Kathak Dance:
- Sattriya Dance:
- Theyyam Dance:
- Kamsale Dance:
- Mudiyettu Ritual Theatre:
- Koothiyattam Performance:
- Cham Dance (Lama Dance):
- Cham Dance Variant 2:
- Cham Dance Variant 3:
- Bayalata Performance:
