Article Search

Folk Dance tradition has been an integral for of Kenyan cultural. Many of the traditional dance forms of Kenya are still intact. The fact that their ethnic diversity has a wide variation, the Traditional instruments plays a significant role as a cultural expression in their folk-dance tradition. This research analysis the different traditional instruments in Kenya and to understand how tey represent the respective culture of different tribes of Kenya. The study aims to understand if these instruments had any symbolic meanings that were used as a way of communicating the culture, beliefs, social roles among the various ethnic groups of Kenya. The Qualitative research methods such as literature review, observations, visual analysis, are used in the research work . The main results obtained through the research include , the different types of traditional instruments used by the Kenyans, and how these are connected to the folk dance culture of Kenya. The study concludes that the traditional instruments of Kenya and their link to the Kenyan folk-dance traditions. The research further demonstrates that traditional instruments are not merely musical tools but also powerful symbols of cultural identity and historical continuity. Their continued use in folk dance performances reflects the resilience of Kenyan traditions and their importance in maintaining the cultural heritage of diverse communities.

The body is the landscape upon which the ideals of cultures, rituals, rules, and boundaries are imprinted as a symbol of society across different cultures. This gains particular significance, especially in Indian Classical dance, where the pillars of ‘tradition’ and ‘culture’ epitomise the dancer’s role in upholding one’s customs. The body is increasingly brought into discourse through a controlled process of observation and supervision, operating through an internalised ‘self-surveillance’, conforming to culturally constructed ideals of femininity and masculinity. This paper challenges notions of an unchanging, natural body through the Indian Classical dance form of Sattriya Nritya. It was traditionally performed solely by male monks of the Sattras (monasteries) of Assam as a purely devotional act towards the worship of Lord Krishna, but is now being taught to females to showcase the rich history of India’s culture through the bodies of the female dancer. The paper will analyse how practitioners of the art form construct their notion of the ‘self’ through training. It will examine how gendered perceptions within Sattriya Nritya contribute to dancers' agency and their lived experiences. By tracing how ethical and cultural sensitivity inform embodiment and identity, it will attempt to offer a rather nuanced understanding of ‘dance’ as a site of individual and collective transformation.

Explores the cinematic choreography patterns of Nataraja Gopi Krishna.

Title Dance Musicians of the 19th and 20th Century: Analyzing the Works of Composers during Mysuru Wodeyar and Tanjore Maratha period who Contributed to Dance Music Introduction As quoted in many treatises, Sangīta is the combination of Geetha, Vadya, and Nritya. As an art, it is the wholesome knowledge of literature, dance, and music for that. No vāggeyakara will compose for a purpose. It is his fulfilled thoughts towards art that made him compose. As such, Dance music is also an offering to God. The contributions of Karnataka and Maratha composers in the 19th and 20th centuries were instrumental in shaping the dance repertoire. This study aims to document their contributions and analyze their compositions. Research Objective The primary objectives of this research are: ● To identify composers from Mysuru Wodeyar period and the Tanjore Maratha regions who contributed to dance music in the 19th and 20th centuries. ● To analyze their compositions, focusing on musical structure, lyrical content, and rhythmic patterns. ● To explore the impact of these compositions on Bharatanatya. ● To understand the elements of dance music under the patronage by Mysuru Wodeyars and Tanjore Maratha rulers. Research Scope This study focuses on composers from Mysuru Wodeyar period such as Mysore Vasudevacharya, Harikesanallur Muthiah Bhagavatar, Aliya Lingaraja Urs and composers from the Tanjore Quartet lineage who had Tanjore Maratha patronage will be studied. The research will analyze their compositions in terms of musicality, rhythm (tala), lyrical content, and their adaptation for dance. Additionally, it will examine how these compositions bridged the traditions of Karnataka Sangita and Bharatanatya. The study includes compositions used in Bharatanatya. (composed for dance and music composition adapted exclusively for dance) Limitation As many composers have contributed to the field of Dance Music this paper is limited to focus only on two composers from each Patronage. Methodology A qualitative research approach will be used. The methodology includes: Musicological Analysis: Examining compositions, ragas, and talas to understand their structure and influence on dance. Comparative Study: Analyzing Mysuru and Maratha composers' styles to understand their unique contributions to dance music. Literature Review – Studying archival records, books, and published papers on Bharatanatyam and music composers. Findings This is the time where the Nirūpanas in the time of Serfoji took a different dimension. The influence of Western Music can be seen in Tanjore Band. This influence can also be seen in Muttuswamy Dikshitar’s composition of Nottu Swaras. The famous Tanjore Quartette formed a new repertoire from Alaripu to Tillana Rulers of Mysore even encouraged the Hindustani music artistes. References Deepti Omchery Bhalla, Studies in Indian Music and Allied Arts, SundeepPrakashan, 1990 Bhagyalekshmy.S, Music and Bharatanatyam, Sundeep Prakashan, Delhi, 1991 Meera Rajaram Pranesh, Musical Composers during Wodeyar Dynasty, Vee Emm Publications, Bangalore, 2003 Manorama B.N, Nrutya Marga Mukura, Sanidhya Prakashana, Madikeri, 2011 Mala Shaaashikanth, Paramparadhara Kaishiki Natyavahini, Bangalore, 2013 Prince Pratap Sinha Serfoji Raje Bhosle, Contributions of Thanjavur Maratha Kings, Sadar Mahal Palace, Thanjavur,2017

This paper examines the compositional and choreographic legacy of Nāṭyācārya H.R. Keshava Murthy (HRK), a distinguished Bharatanāṭyam exponent whose innovative productions have left a lasting impression on Karnāṭaka’s cultural heritage. With a repertoire of over thirty Nṛtya Rūpaka-s covering historical, mythological, and social themes, HRK’s work is distinguished by his ability to bring classical texts to life through dance, rhythm, and stagecraft. He has also composed a wide range of musical pieces for Bharatanāṭyam, including JatiSvaram-s, Varṇam-s, Tillāna-s, and thematic compositions. His choreographies, such as Mēgha Sandēśa, Pañcavaṭi, Sītārāma Kalyāṇa, Śrī Kṛṣṇa Tulābhāra, and Saṅgōḷḷi Rāyaṇṇa, reveal his sensitivity to literature and his skill in transforming textual material into compelling stage productions and exemplify a deep understanding of narrative, aesthetics, and structure. These productions have not only entertained audiences but also educated and inspired dancers, helping sustain and renew Karnāṭaka’s Bharatanāṭyam tradition. The primary objective of this study is to provide a comprehensive overview of his contributions and to analyze his choreographic style through the lens of Caturvidha Abhinaya. Focusing especially on Āṅgika (movement and gesture), Vācika (music and verbal expression), and Āhārya (costume and visual elements). The paper also highlights the specific innovations in technique and presentation found in a few select productions. A descriptive and analytical methodology is adopted through the study of archival video footage, personal interviews with his students and review of documentary materials. The findings highlight HRK’s enduring legacy and the relevance of his artistic vision and uniqueness in each of the dance drama and how his works continues to serve as a valuable reference for performers and scholars, especially through his lesser known yet unique compositions that offer rich possibilities for performance and study. One can also observe the wide range of productions he created across diverse themes an achievement that reflects a lifetime of consistent artistic dedication. His dance dramas reveal numerous special features that enhance effectiveness, including creative innovations in Āṅgika ,Vācika, and Āhārya, and his attention to even the smallest choreographic and theatrical details. This research contributes to preserving and promoting the work of one of Karnāṭaka’s most prolific and visionary dance artist

Adyar K. Lakshmanan remains a pivotal figure in Bharatanatyam, celebrated for his inventive choreography deeply rooted in musicality and expressive depth. His profound dedication to the classical dance idiom and his extensive repertoire of choreographic masterpieces have consistently resonated with audiences and stood the test of time. This research endeavors to dissect and evaluate the rhythmic frameworks, compositional strategies, and inherent musicality present within Lakshmanan Sir's choreographic creations, aiming to elucidate the core principles that define his enduring artistic impact. The study undertakes a thorough examination of diverse segments within the traditional Margam structure, encompassing introductory pieces, abstract dance forms (Jathiswarams), narrative-driven compositions (Varnams), and concluding pure dance sequences (Thillanas). Through the analysis of specific works such as Nandi Chol, Mallari, Stuti Pancharathnam, Jathiswarams set in Abhogi and Hemavati ragas, Varnams exemplified by "Nee indha maayam" and "Enthanine thelupudura," alongside his approach to Thillanas, this investigation seeks to uncover the fundamental tenets that informed his creative methodology. Within his Varnam choreographies, a deep-seated reverence for the composer's original intentions was consistently observed, with movement vocabulary meticulously aligning with the musical rhythm. Furthermore, his resourceful employment of varied rhythmic flourishes within Varnams introduced elements of surprise and complexity. A notable technique in his Varnam presentations involved the continuous vocalization of lyrical lines during the narrative elaborations (Sancharis), ensuring temporal and musical cohesion. His discerning application of contrasting movement patterns in Varnam rhythmic passages, informed by the musical register and meter, further highlights his acute sensitivity to musical nuance. Finally, his Thillanas consistently incorporated the five fundamental rhythmic patterns (Pancha Nadais), integrated within the rhythmic frameworks (Korvais) or connecting dance units (Usi-adavus), imbuing his concluding pieces with a distinctive rhythmic identity. This research underscores Lakshmanan Sir’s profound skill in seamlessly fusing rhythmic intricacy with melodic beauty, offering valuable insights for emerging choreographers and enriching the understanding of his significant contributions to the art of Bharatanatyam.

The objective of this paper is to bring to light Nala Najan, a lesser known American practioner, choreographer and performer of Indian classical dance. Travelling to India in 1950 he trained in several Indian classical art forms from the grand masters of the art at a time when the abolition act of 1929 had shaken the foundations and practice and performing structures of Indian classical dance in India. The paper focuses on his learning the art form as well as imbibing with a great passion the culture and tradition that went with the art. The paper details his teaching methodology and his philosophy behind creating new choreographies basing them on a strong foundation of his learnings India. The paper also looks into the various dimensions Nala invented for documenting an oral tradition. It included the documentation of the dance itself, not excluding the documentation of the thought process before and after composition of a piece. At a time when non-Indian practioners of the art were presenting Indian classical dance as “Exotic”, Asian dance, here was an ardent disciple of Indian classical dance who propagated it in its most pristine form and also elevated it though his deep understanding of the Hindu thought and philosophy. The methodology for this research is qualitative. Phenomenological and participative methods of observation were involved. The phenomenological study involved systematic study and documentation of facts from a seven -volume publication by Nala’s disciple Padma Chittampalli, without any manipulation. The participative method was enabled by Nala Najan’s prime disciple Smt. Padma Chittampalli from New York, USA. She had learned Nala’s choreography directly from him for over 23 years. She did not travel or perform in India or elsewhere, thus preserving Nala’s choreographies in their most pristine form. The researcher’s interaction and learning from Ms. Chittampalli, enabled the participative methodology. Nala Najan is one of the pioneers in establishing what the diaspora and American’s understand as authentic Indian classical dance today. His documentation is a precise and exhaustive approach to the documentation of a purely oral tradition of dance.

Introduction - Most of the dance Gurus in India, have been into choreography as they have been conducting performances since centuries, at temples, palaces, halls, auditoriums. Bharatakalamani Dr. C. Radhakrishna, the great Guru of the 20th century, who belonged to the family of Naṭṭuvanārs of the Kolar Parampara, was an excellent bharatanatyam dance composer but also well-known for his dance and drama choreography. The Kolar Sampradāya is a part of Mysore School of Bharatanatyam and this was pioneered by Yajaman Kolar Kiṭṭanna at the end of 19th century during the reign of King Sri Chamaraja Wodeyer X of Mysore. Need – While several people have known Guru Dr. Radhakrishna, who even had an honourary Doctorate in Bharatanatyam from Gangubai Hangal University, he has been a hidden gem to many. He had been one of the torch-bearers of Karnataka Nartana Parampara. The researcher would like to increase awareness about him. Being one of the chief disciples of Guru Bharatakalamani Dr. C. Radhakrishna and Guru Smt. Meenakshi Radhakrishna for more than four decades, following the Kolar parampara of Karnataka and having received valuable information from them, the researcher would definitely wish to throw light upon his creations, regarding their tradition, compositions and choreography. . Scope – The scope is endless. Kolar style reprotoire is very vast, having a rich heritage. Even if explanation of three types- Nrutta, Nrutya and Nāṭya are considered, it would take much more time and space than expected. Guruji had ably served the dance field for over seven decades, guiding hundreds of students, innumerable nrutyabandhas. So, in this paper, the researcher limits herself to brief explanation of three topics giving one example for each type. Objective - This paper focuses on the analysis of one example of Nrutta – Swarapallavi and one example of Nrutya - Ṭhāya and of Nāṭya –one his famous dance-dramas, ‘Nātyarani Shantalé’ – the way he expressed these via dance and also the various techniques, technologies, way the artists were used to bring ultimately an effective presentation Method – Methodology is descriptive. There are very few books written about him. Having studied under him from the age of 10 and until even 2 years back and gained extensive knowledge about it, the researcher would like to analyse the ideas in choreography based on self-experience. The news paper reviews as well as matter about him have been given occasionally by great critics and they portray his greatness. Findings – After writing about the nrutyabandha or nāṭya, it is analysed under various headings like the movements, pattern of entry and exit, music, voice used, tāla, rāga, costumes and make up, stage décor and lighting and other aspects. This paper has been written to give all the background information about the Guru as well as his ideas. Conclusion - It can be concluded that the results of the study can be used by people, in future. This makes the readers realize Guru Radhakrishna’s greatness and can get motivated to learn and continue our parampara.

This paper studies the use of Āṅgika and Āhārya Abhinaya in selected characters from the dance drama Kūrmāvatāram, choreographed by Rukmini Devi Arundale. The research focuses on how Rukmini Devi’s creative choices in choreography and aesthetics are seen in the body movements and costume design of the characters. The aim is to understand how her artistic vision shaped the presentation of these characters and contributed to the storytelling of the dance drama. The study uses a qualitative and analytical method, based on the viewing of a 2006 video recording of the performance and discussions with alumni of Kalakshetra who have witnessed the production. The characters selected for detailed analysis are Mahābali, Mohini, Vāsuki, Hālahala, and Lakṣmī. Each of these characters is studied for how their emotional and narrative qualities are expressed through movement vocabulary, hand gestures, body language, and costume. The research observes how Āṅgika Abhinaya aligns with the characters' roles and how Āhārya Abhinaya helps support their symbolic meaning in the narrative. The study also notes the influence of Kathakaḷi, especially in the portrayal of male characters, and how this added a dramatic quality to the performance. The findings show Rukmini Devi’s innovative approach in integrating traditional elements with her personal style. The symbolic staging, attention to detail in costuming, and clarity in character presentation reflect her deep understanding of classical art. The dance drama Kūrmāvatāram, as performed at Kalakshetra, continues to preserve her legacy. This research highlights Rukmini Devi Arundale’s role in shaping Bharatanāṭyam as a composite classical art form and her efforts in reviving temple-based dance traditions for modern stage presentation.

India has been a country which has been a home to diversity, yet constantly being guided by the universality of Sanātana Dharma - the eternal religion . Though the intensity of the spiritual fostering varies in individuals, the basic spiritual and cultural foundation laid in a Bhāratíya as a part of the system strengthens the cognitive and emotional aspects of a human mind. This has made India withstand many challenges and crises starting from Islamic invasion to the most recent covid crisis. Time and again, unity that has been developed and nourished in such a diversified country has transcended all religious barriers by acquiring its sustenance through“faith in the supreme power”. The ideology of Bhakti has been serving as a profound vehicle to experience the path of faith. Rāmāyaņa and Mahabhārata are the two classics which have been a household name initially in India and now globally too. Prominent characters of Rāmāyaņa have a multi-dimensional identity in India. These identities are highly layered in nature. On one hand, these identities are often shaped by diverse philosophical doctrines, human idealistic aspirations take the form of attributions through these characters and on the other hand, each character serves as a medium to explore the complexity of human nature unveiled through the poetic eye. While reflecting the above thought through Rāmāyaņa, it is an Indian work that is staunchly worshiped till date and it is also a work that is artistically celebrated as the first classic poetry of India (Ādikāvya). One might prompted to wonder whether the poetic imagery of the protagonist in Vālmīki’s Rāmāyaṇa (the one embodying the 16 ideal guṇas of an ideal human) to be more a fictional character than realistic one? Can such a confluence of virtues truly manifest in a single individual? Wouldn’t it be appropriate to address this ideal Human of Vālmiki as the Daiva or the supreme being or, as is widely practiced, to revere him as God? What would be the purpose of crafting a narrative around such a figure who has continued to be venerated as the ideal human on till date? Well one can possibly answer these ever existing questions is the conscious interweaving of aesthetics and philosophy throughout Rāmāyaņa as a poetic work. Rāma emerges as not merely the protagonist (nāyaka) but as an embodiment of aesthetic grace shaped by philosophical conviction . He is explored implicitly through his inner alignment with svadharma through the epical poem, while his noble attributes are celebrated more explicitly in the vast corpus of Bhakti literature that followed. In this dual portrayal, Rāma transcends the boundaries of narrative to become both a literary ideal and a spiritual archetype. Nevertheless, an impersonalized artistic representation of various poetic expressions of Bhakti through the medium of dance simplified the process of establishing a personalized connect between a Bhakta and his deity due to its entertainment value (ranjakatva). A visual experience of Bhakti through the Bhakti narrative succeeded in transporting a bhakta into a momentary state of transcendence trance and thus providing the joy of experiencing temporary proximity to the divine. In the Indian context, such an experiential mode of devotion became an integral part of the Bhakti movement wherein Indian classical arts became a potent medium for visually manifesting Rāma Bhakti. Rama Bhakti is embedded with a multi layered fabric revolving around the most powerful emotion of “sharanagti” or surrender to the ideal. This paper seeks to explore the characterization in the Vālmīki Rāmāyaṇa through select Bhakti poetic traditions, examining how these expressions embody the philosophical and aesthetic dimensions of Rāma as both an ideal and a divine presence.

"Maisūru Mallige" stands as a significant work in Kannada literature, and KSN's collection of poems has left a lasting impact on the readers. The emotional depth and reflective quality of Narasimhaswamy's poems make "Maisūru Mallige" a timeless piece of literature. The simplicity of the language, combined with a good lyrical quality and evocative imagery, allows readers and performers to connect with the verses on a personal and emotional level. The exploration of love between a husband and wife in the poems adds a universal appeal to "Maisūru Mallige". The use of metaphors and vivid descriptions further enhances the readers' experience, creating a rich tapestry of emotions that resonates with them. The Nāṭyaśāstra mentions and explains the various avasthās of the heroine, terming them as aṣṭanāyikās. To the existing heroine of different emotional states, Dr. Shatavadhani R Ganesh has named the aṣṭanāyakas. Taking the research forward with the help of the already existing nāyakas in the kāvyās and śāstras, Dr. DwarithaViswanatha has classified the nāyakas as parallels and counterparts of the aṣṭanāyikās. The proposed literary work, focusing on the emotional nuances of the nāyaka (hero) and their avasthās (emotional states), presents an exciting avenue for analysis. By examining the intricacies of these nāyakas and their emotional journey, the study can uncover the layers of meaning embedded in Narasimhaswamy's verses.

Art being an integral part of evolution of mankind, has occupied an important role in the life and culture of the modern human being and his society. Dance, which is considered an important part of performing arts genre, is classified into two categories viz., Classical and Folk forms. The classical dance form as its name suggests, has a particular system of learning, presentation and its own theory and practice. Classical dance must have certain aspects to it in terms of learning, tradition and presentation in order for it to be called classical. It is quite evident that it got influenced by the culture, society and tradition of the communities as well as geography where it evolved. Thus, classical dance forms got classified into 8 types majorly. As we go through the scriptures, Vatsayana in his scripture mentioned about 64 art forms or the skill activities. Among them classical dance is the one which fits in the category of Performing Arts. As the name suggests it is a presentation in the form of a repertoire. This involves the main artiste, supporting artistes and the audience along with the various settings required to become a repertoire. Once we look into the structure of repertoire we need to understand the various aspects of it. In this, repertoire maybe of traditional type or a contemporary one. Being an art form of Guruparampara tradition, classical dance has its essence based on the Rasa concept mentioned in the ancient scriptures, its Do’s and Don’ts as per the tradition and so on. But as the time changes and marches on, everything in nature and the world changes, and it is not an exception in the field of art too. In this regard, we being the artiste fraternity of our country have a great responsibility to preserve and propagate it without altering the originality of the same. Ancient scriptures are an important source to understand the traditions of our culture as well as art forms. Over a period of time, we Indians got influenced by western culture, especially the present younger generation, and it has had a lot of influence in the field of classical dance as well. It is the responsibility of each one of us to educate younger generation to understand the depth of our culture and tradition through our Art forms. Among the five senses a human being is endowed with, the eyes are the most sensible and have a better effect on the brain than other senses. Audio-Visual effects have more influence in learning than just listening or reading. Thus, being an audio-visual art form, classical dance has more potential to attract, influence, refine and elevate a human being. The problem occurs when a Guruparampara based art, that is classical dance, comes under the academic ambit such as a university where it would be a subject in the curriculum. The entire system of academics in the university is completely different compared to the system of Guruparampara. Here one can find it difficult to cope up with the system and it is true especially for the performing artists. We can mention here that many have become artists by imbibing the art through Guruparampara system only. So, till about the 20th century the classical dance had the strong foundation of learning and practice in Guruparampara system only. As it demands many hours and days of practice or ‘Abhyas', it won’t fit into an academic system like in a university or a college. In the academic system time will be limited for practice or ‘Abhyas’ as there will be pressure both on the faculty and students on covering other common subjects also. Practically it doesn’t meet an artist’s need to be an expert on the subject with deep practice and contemplation. This aspect will be of high priority to look into, when one considers how to create a really good professional in the field through academic education. In this process there will be a danger of either losing originality or altering the tradition by the practitioners, as well as the younger generation. In this system one can become either a performer or an academician only and combining both will be a real challenge for the artists. In this regard this paper tries to offer an analysis to finding solutions to this problem.

Karnataka's rich history, culture, and natural wealth make it a treasure cove of folk dances. At present a staggering number of over 110 folk dances have been documented. (Boralingaiah) Karnataka’s folk dances are mostly termed together and introduced as ‘gaṇḍu kāle’, literally translating into male arts. Folk dances performed exclusively by women are an insignificant number. There seems to be a huge disparity in the representation of women in Karnataka’s folk dances. Hence the scope of this study is to look at the representations of women in folk dances in Karnataka. The purpose of the study is many folds: 1. To delineate the feminine representations in Karnataka’s folk dances in two categories – the worshipped feminine and the participatory feminine 2. To understand the worshipped feminine through folklore, symbols, and practices in folk dances 3. To examine the participatory feminine in traditionally exclusive folk dances performed only by women through it form and content 4. To analyze the role of femininity and female constructs in Karnataka’s folk dances Descriptive research methodology specifically an ethnographic approach is used as the research design in this study. Primary data has been collected by observation, participation and interviews. Secondary data has been collected through analyses of articles and books. In the traditional worldview of binary gender, only men and women are represented. Even between these two genders, we see a huge disparity. Feminine representations are extensively studied in literature and paintings – these portrayals are delineated to understand topic. Feminine representation in folk dances of Karnataka can be studied in two broad categories. The first is the worshipped feminine or divine feminine and the second is the participatory feminine. In the worshipped feminine folk dances such as karaga kuṇita, pūjā kuṇita and jōgati nr̥tya are studied. In participatory feminine - tarle barle kunitha, lambāṇi kuṇita, umatāṭa, puguḍi nr̥tya, damāmi nr̥tya are elaborated. Women in mixed dances are also briefly mentioned to get a complete picture. The analysis of the female representations determines the cultural evolution of feminine representation, which can broadly be grouped into four phases: pre-historic, vedic, historical, and current. Behavioral scientists studying women’s underrepresentation state that a gender-imbalanced picture of society can reinforce and perpetuate harmful gender stereotypes. The study concludes that more women should claim performance spaces and take forward the legacy of folk dances in Karnataka.