Indian Classical Dance - Theory and Technique

Indian dance did not develop in isolation, it is more of a combination of music, art and drama and hence the classical dances of India usually follow most of the techniques and guidelines laid down for theatre. Dances are typically in the dance-drama form, where the dancer is conveying a story to the audience with the help of dance symbols. Indian dances differ significantly from Western Dance forms. Western dancers are concerned more with space, and their dance movements involve moving around in space. Hence they are characteristic by great leaps into the air, or the rapid movement from one place to another. Western dancers create movement by reaching into space and carving out intricate movements in the air, and the central aim is to make movement appear free from gravity. Indian dancers on the other hand have a very different concept, they do not concern themselves with spaces but with time. The central aim of Indian dance is to make a pose so perfect that it appears timeless. Hence the movements take place in time and must be perfectly synchronized with the rhythm, in order to create a series of perfect poses. A perfect pose would be able to capture time for a moment, and in a limited space. As a result most Indian dances,

except for certain movements in Kathakhali, do not feature any major leaps or other sudden changes in space.

Indian dance does not concern itself with the layout of the muscles in the human body and instead focuses on the joints and the bone structure. Indian dancers are always trying to achieve the perfect pose. This is only possible after clearly understanding bone and joint structure of the body. The basic theory of Indian dance assumes the body to be a mass which is equally divisible along a central median. When weight is perfectly balanced the samabhanga position emerges. When there is a slight imbalance the abhanga position is achieved and when there are two deviations on opposite sides then a thrice deflected position appears known as the tribhanga . According to the Natyasastra there are two broad classifications for the different parts of the body, they are the major and minor limbs (the angas and the upangas ). The angas are the head, hands, chest, waist, hips and feet. The upangas are the eyes, eyebrows, nose, lips, chin and mouth. Indian dance movements are divided into several units of movement, depending on which parts of the body are used, and combinations of certain events also have certain names. Movement with one foot is known as a chari and movement with both feet is known as a karana . A karana is also used to refer to a unit of movement which combines both hands and feet. There are a few other terminologies like for instance when contact with the ground is maximum it is known as bhaumi and when there is any effort to release from gravity it is known as akasiki . A circular movement is called a rechika , turns are known as bhramiris , jumps or elevations are known as utplavanas . These are just a few of the terms used in dance, and each of the classical dances have their own set of such terms.

An integral part of Indian classical dances is drama and dancers are expected to convey stories to the audience using their dance movements. Speech is replaced by music and movement, and it is set against a particular rhythmic cycle. A dancer has to assume different roles without the opportunity to change costume and hence must be able to display the different characters distinctly. There is an entire language made up from various signs and almost anything can be conveyed. As Nandikesvara, the author of the Abhinaya Darapana said "Where the hands go eyes follow, where the eye goes, there the mood follows and where the mind goes there arises the sentiment".

We shall now take a look at the basic ideas of stage presentation. Since Indian dance is closely linked with drama, it carries over many drama concepts into its structure. Indian dance can be divided into three broad principles

- Dharmis or the modes of presentation: These deal with the way it is presented, either in a stylized way ( natya ) or in a realistic way ( lokadharmi ) with the former used more often.

- Vrittis or the styles: There are a number of styles used in a dance like, graceful ( Kaiseki ), grand ( Sathvati ), energetic ( arbhati ) and verbal ( bharati ). Bharati however is rarely used in dance.

- Abhinaya or Types of acting: This deals with the various technicalities of acting like gestures ( angarika ), vocal ( vachika ), costume and make up props ( aharya ), and the involuntary/temperement/emotional ( sattvika ).

There are a number of terms which are used to describe the gestures ( angrika ) in the acting part of the dance.

- Mukhaja or of the face: This involves movements using the eyebrows, eyelids, eyeballs, nose, lips, chin and mouth

- Sarira or the body: This uses the major limbs, and the movements are done by the head, chest, waist, hips, thighs, hands and feet

- Chestakrita : This uses the entire body.

The theory of Indian dance is very complex and the above is just a brief introduction to give you a basic idea of what Indian dance is all about. We deal with the specifics of each dance when we talk about them separately.

change costume and hence must be able to display the different characters distinctly. There is an entire language made up from various signs and almost anything can be conveyed. As Nandikesvara, the author of the Abhinaya Darapana said "Where the hands go eyes follow, where the eye goes, there the mood follows and where the mind goes there arises the sentiment".

We shall now take a look at the basic ideas of stage presentation. Since Indian dance is closely linked with drama, it carries over many drama concepts into its structure. Indian dance can be divided into three broad principles

- Dharmis or the modes of presentation: These deal with the way it is presented, either in a stylized way ( natya ) or in a realistic way ( lokadharmi ) with the former used more often.

- Vrittis or the styles: There are a number of styles used in a dance like, graceful ( Kaiseki ), grand ( Sathvati ), energetic ( arbhati ) and verbal ( bharati ). Bharati however is rarely used in dance.

- Abhinaya or Types of acting: This deals with the various technicalities of acting like gestures ( angarika ), vocal ( vachika ), costume and make up props ( aharya ), and the involuntary/temperement/emotional ( sattvika ).

There are a number of terms which are used to describe the gestures ( angrika ) in the acting part of the dance.

- Mukhaja or of the face: This involves movements using the eyebrows, eyelids, eyeballs, nose, lips, chin and mouth

- Sarira or the body: This uses the major limbs, and the movements are done by the head, chest, waist, hips, thighs, hands and feet

- Chestakrita : This uses the entire body.

The theory of Indian dance is very complex and the above is just a brief introduction to give you a basic idea of what Indian dance is all about. We deal with the specifics of each dance when we talk about them separately.