The legends of Radha-Krishna were enacted in folk plays called rasa lila, which combined folk dance with the basic gestures of the kathak story-tellers.
Kathak began evolving into a distinct mode of dance in the fifteenth and sixteenth centuries with the spread of the bhakti movement.
It was primarily a temple or village performance wherein the dancers narrated stories from ancient scriptures.
The word Kathak has been derived from the word Katha which means a story.
Two buns are used in Kuchipudi while only one in Bharatnatyam.
In Bharatnatyam, there is no side Pallu but in Kuchipudi separate pallu is stitched seen on the left side.
While Kuchipudi dress has only one frill/fan lengthier than the lengthiest fan in the former.
Bharatnatyam costume has three fans of dissimilar lengths.
Yamini Krishnamurthy and Raja Reddy are prominent dancers.
HIGH RESOLUTION KATHAK MUSIC GHUNGROO FULL
The solo items are Manduka Shabdam (story of frog maiden), Balagopala Tarangam (dance on the edges of brass plate with a pitcher full of water on head) and Tala Chitra Nritya (drawing pictures with dancing toes).
Costumes, ornaments and jewellery occupy an important place.
performance in groups and also as solo items. He was steeped in the literary Yakshagana tradition being guided by his guru Teerthanaaraayana Yogi who composed the Krishna-Leela Tarangini, a kaavya in Sanskrit.
In 17th century Kuchipudi style of Yakshagana was conceived by Siddhendra Yogi.
It was known under the generic name of Yakshagaana.
Kuchipudi is the name of a village in the Krishna district of Andhra Pradesh which has a very long tradition of dance-drama.
Krishna Iyer and Rukmini Devi Arundale had played a significant role in helping the dance regain its lost popularity and position.
Bharatanatyam poses are depicted on the gopurams of the Chidambaram temple (Tamil Nadu).
In its usual form the dance is generally broken into seven main parts – Alarippu, Jatiswaram, Shabda, Varna, Pada, Thillana and Sloka.
The person who conducts the dance recitation is the Nattuvanar.
The accompanying orchestra consists of a vocalist, a mridangam player, violinist or veena player, a flautist and a cymbal player.
Expressive eye movements and hand gestures are used to convey emotions.
The dance involves transitional movements of leg, hip and arm.
Bharatnatyam dance is known to be ekaharya, where one dancer takes on many roles in a single performance.
The Abhinaya Darpana by Nandikeshwara is one of the main sources of textual material, for the study of the technique and grammar of body movement in Bharatnatyam Dance.
Folk dance, on the other hand, emerged from the local tradition of the respective state, ethnic or geographic regions.
Classical dance has a deep-rooted relationship with the Natya Shastra where the specific features of each of the Classical dance forms have been mentioned.
The major difference between Classical and Folk dance is the origin.
The 2 major dance form in India are classical and folk dance.
The Natya Shastra written by Bharat Muni is the most prominent source for the Indian aestheticians for establishing the characteristics of the dances.
The nine rasas are – Love, Heroism, Pathos, Humour, Anger, Fear, Disgust, Wonder and Peace.
Nritta (the dance movements in their basic form).
Natya (the dramatic element of the dance i.e.
The Indian classical dances have two basic aspects – Tandava (movement & rhythm) and Lasya (grace, bhava & rasa).
Contemporary classical dance forms have evolved out of the musical play or sangeet-nataka performed from the 12th century to the 19th century.
Excavations, inscriptions, chronicles, genealogies of kings and artists, literary sources, sculpture and painting of different periods provide extensive evidence on dance in India.