Brief history of the evolution of dance
(Indian/Western. Mythology / History,
regional differences, major exponents)
Answers
Answer:
Mohiniattam
Mohiniattam or Mohiniyattam is an Indian classical dance form that evolved in the state of Kerala, India, and is counted among the two popular dance arts of the state, the other being Kathakali. Although its roots date back to the age-old Sanskrit Hindu text on performing arts called ‘Natya Shastra’, similar to other Indian classical dance forms, Mohiniattam adheres to the Lasya type that showcases a more graceful, gentle and feminine form of dancing. Mohiniattam derives its name from the word ‘Mohini’, a female avatar of Lord Vishnu. Conventionally a solo dance performed by female artists, it emotes a play through dancing and singing where the song is customarily in Manipravala which is a mix of Sanskrit and Malayalam language and the recitation may be either performed by the dancer herself or by a vocalist with the music style being Carnatic.
History & Evolution
The theoretical foundation of this dance form like other major classical dance forms of India has its roots in sage Bharata Muni’s text called ‘Natya Shastra’, a Sanskrit Hindu text that deals with performing arts. The first complete version of ‘Natya Shastra’ is considered by some sources to have been completed between 200 BCE to 200 CE while some others mention the timeframe between 500 BCE and 500 CE. It breaks dance into two specific types, the first one being ‘nritta’ or pure dance that centres around finesse of hand movements and gestures, and the other being ‘nritya’ that features the expressive aspect of dance. ‘Natya Shastra’ elucidates several theories of Indian classical dances including on standing postures, basic steps, bhava, rasa, methods of acting and gestures as also two forms of dance – the Tandava dance of Lord Shiva that exhibits more vigour and vitality and the Lasya dance that is more delicate and graceful. The Lasya dance theme and structure is followed in Mohiniattam.
Mohiniattam evolved from the state of Kerala which also has an association with the old tradition of Lasya style of dancing. The temple sculptures of the state are the earliest manifestations of Mohiniattam or other dance forms similar to it. Mohiniattam poses are also palpable from the various feminine sculptures that adorn the 11th century Vishnu temple at Trikodithanam, and the Kidangur Subramanya temple. The Lasya theme was incorporated by Malayalam bards and playwrights, a fact evident from the text-based records starting from the 12th century. The 16th century book titled ‘Vyavaharamala’ written by scholar, poet, author and astrologer Mazhamangalam Narayanan Namboodiri is the first known book that mentions the term Mohiniyattam in connection with a payment due to a Mohiniyattam dancer. While discussing about various performing art forms of Kerala, renowned poet Kunchan Nambiar in his 17th century book ‘Gosha Yatra’ mentioned about Mohiniyattam. By that time this dance form had emerged as one of the classical art forms of the state. The 18th century Sanskrit treatise ‘Balarama Bharatam’ on natyam written by the king of Travancore Karthika Thirunal Bala Rama Varma (considered to be a significant secondary work on ‘Natya Shastra’) refers about ‘Mohino Natana’ among various other dance styles.
Mohiniattam developed further as a performing art during the 18th and 19th centuries, thanks to the patronage of several princely states. The initiation and patronage of the Maharaja of the Kingdom of Travancore, Swathi Thirunal Rama Varma, a poet and brilliant music composer himself, in the early 19th century saw development of a joint team of artists of two genres namely Bharatanatyam and Mohiniattam. His contributions in the art form saw the eventual development and systematization of present day Mohiniattam.
Decline during Colonial Rule
- As British colonial rule spread in the 19th century, various classical dance forms were subjected to contemptuous fun and discouragement thus witnessing their decline. Eventually social and economic conditions associated with Devadasis of South India and nautch girls of North India added with contempt and despicable attitude from the Christian missionaries and British officials, who held them as harlots, disgraced such systems. Furthermore, the Christian missionaries launched anti-dance movement in 1892 to stop such practice. The book ‘The Wrongs of Indian Womanhood’ by Marcus B. Fuller published in 1900 caricatured the facial expressions and sensuous gestures emoted during temples dances. Such upheaval stigmatized all Indian classical dance forms including Mohiniattam that saw its decline in the princely states of Cochin and Travancore.
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Answer:
Mohiniattam
Mohiniattam or Mohiniyattam is an Indian classical dance form that evolved in the state of Kerala, India, and is counted among the two popular dance arts of the state, the other being Kathakali. Although its roots date back to the age-old Sanskrit Hindu text on performing arts called ‘Natya Shastra’, similar to other Indian classical dance forms, Mohiniattam adheres to the Lasya type that showcases a more graceful, gentle and feminine form of dancing. Mohiniattam derives its name from the word ‘Mohini’, a female avatar of Lord Vishnu. Conventionally a solo dance performed by female artists, it emotes a play through dancing and singing where the song is customarily in Manipravala which is a mix of Sanskrit and Malayalam language and the recitation may be either performed by the dancer herself or by a vocalist with the music style being Carnatic.
History & Evolution
The theoretical foundation of this dance form like other major classical dance forms of India has its roots in sage Bharata Muni’s text called ‘Natya Shastra’, a Sanskrit Hindu text that deals with performing arts. The first complete version of ‘Natya Shastra’ is considered by some sources to have been completed between 200 BCE to 200 CE while some others mention the timeframe between 500 BCE and 500 CE. It breaks dance into two specific types, the first one being ‘nritta’ or pure dance that centres around finesse of hand movements and gestures, and the other being ‘nritya’ that features the expressive aspect of dance. ‘Natya Shastra’ elucidates several theories of Indian classical dances including on standing postures, basic steps, bhava, rasa, methods of acting and gestures as also two forms of dance – the Tandava dance of Lord Shiva that exhibits more vigour and vitality and the Lasya dance that is more delicate and graceful. The Lasya dance theme and structure is followed in Mohiniattam.
Mohiniattam evolved from the state of Kerala which also has an association with the old tradition of Lasya style of dancing. The temple sculptures of the state are the earliest manifestations of Mohiniattam or other dance forms similar to it. Mohiniattam poses are also palpable from the various feminine sculptures that adorn the 11th century Vishnu temple at Trikodithanam, and the Kidangur Subramanya temple. The Lasya theme was incorporated by Malayalam bards and playwrights, a fact evident from the text-based records starting from the 12th century. The 16th century book titled ‘Vyavaharamala’ written by scholar, poet, author and astrologer Mazhamangalam Narayanan Namboodiri is the first known book that mentions the term Mohiniyattam in connection with a payment due to a Mohiniyattam dancer. While discussing about various performing art forms of Kerala, renowned poet Kunchan Nambiar in his 17th century book ‘Gosha Yatra’ mentioned about Mohiniyattam. By that time this dance form had emerged as one of the classical art forms of the state. The 18th century Sanskrit treatise ‘Balarama Bharatam’ on natyam written by the king of Travancore Karthika Thirunal Bala Rama Varma (considered to be a significant secondary work on ‘Natya Shastra’) refers about ‘Mohino Natana’ among various other dance styles.
Mohiniattam developed further as a performing art during the 18th and 19th centuries, thanks to the patronage of several princely states. The initiation and patronage of the Maharaja of the Kingdom of Travancore, Swathi Thirunal Rama Varma, a poet and brilliant music composer himself, in the early 19th century saw development of a joint team of artists of two genres namely Bharatanatyam and Mohiniattam. His contributions in the art form saw the eventual development and systematization of present day Mohiniattam.
Decline during Colonial Rule
As British colonial rule spread in the 19th century, various classical dance forms were subjected to contemptuous fun and discouragement thus witnessing their decline. Eventually social and economic conditions associated with Devadasis of South India and nautch girls of North India added with contempt and despicable attitude from the Christian missionaries and British officials, who held them as harlots, disgraced such systems. Furthermore, the Christian missionaries launched anti-dance movement in 1892 to stop such practice. The book ‘The Wrongs of Indian Womanhood’ by Marcus B. Fuller published in 1900 caricatured the facial expressions and sensuous gestures emoted during temples dances. Such upheaval stigmatized all Indian classical dance forms including Mohiniattam that saw its decline in the princely states of Cochin and Travancore.
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Explanation: