top of page
Frame 23.jpg

Kūcipūḍi

Image by prosha amiri
19499 [Converted]-04.png

The dance traditions of Āndhra can be traced to various sources such as the ancient temple, the Buddhist ruins, the advent of Tamil migration of the Ārava Drāvida community, and various litterateurs that existed during that period. Vaiṣnavism pervaded and almost until the 14th Century, the Kṛṣṇa cult gained popularity prior to Yakśagānaṃ and Bhāgavataṃ mēla traditions in the Āndhra region. The Dēvadāsis and the Rājanartakis in the Śrikākulaṃ region also danced to hymns in praise of Lord Kṛṣṇa. With a necessity to restore the art form of the depleting Dēvadāsis, it was believed that scholar Siddhēndra Yogi undertook this responsibility to propagate and gave a new dimension to Kūcipudi. The evolution of Kūcipūḍi went through many transitions, navigating from Sanskrit Rūpakās to Bhāgavataṃs, Kalāpaṃs, and Yakśagānaṃs. The style evolved into the solo tradition. The events of the ‘forties’ and ‘fifties’ cemented the initial attempts made by the Koochipudi Bhagavathulu to extend the reach of their art beyond the region of its origin. It may be recalled that the successful efforts to re-cast another dance tradition i.e. Sadir -Daadi-Attam, into Bharatha Naatyam were already complete by the1950s. The success of this precedent inspired the Bhagavathulu of Koochipudi to follow this model in culling a solo Maargam (a representative selection and order of presentation of dance items) out of their dance drama tradition. Consequently, a solo Koochipudi repertoire was shaped by combining some extracts from the existing group performance material and adding specially choreographed items to these.

Over the centuries, Kūcipūḍi has always shown itself to be a highly resilient and adaptable style, constantly absorbing into its stream, changes, and modifications, according to the changing times and necessities.


 

89906 [Converted]-01.png
Frame 30.jpg

Bharatanāṭyam

Bharatanatyam is the contemporary name for an idiom of dance from Tamilnādu in South India, which is the most widely known and popular of dance forms performed in India today. Until the early nineteen thirties, it was referred to locally in the Madras area simply as nautch or as sādir-nautch and dāsi āttam, which means dance of the devadasis'. Devadasis (literally, 'female servants of God') were women dedicated to temple service, who performed dances as part of the many rituals connected with a temple. On special occasions such as marriages they would be invited to perform at the houses of prominent citizens. Some were attached to the courts of kings and expected to dance at the palace, for which they received a salary. A descendent of mythical Apsārās, Dēvadāsis became a mortal representation of the celestial, participating in religious rituals and community celebrations.

 

The artistic culture of modern India saw movements for both the abolition of sādir and the revival of ‘classical’ dance during India’s fight for independence. 1933 is considered a turning point in the history of this idiom, for on the first of January of that year an extremely successful performance was held under the aegis of the respected Madras Music Academy.Over the next twenty years young girls from 'respectable' families began to study sādir nautch, or Bharatanatyam, as it was now called, and to present it to urban audiences not only in Madras, but in the major cities of the north as well. Today it is regarded by Indians both as a paradigm of dance and as an epitome of their ancient culture. The name given to the idiom has played a not insignificant part in its present popularity and status. 'Bharatanatyam' means 'the dance theatre of Bharata', the writer to whom is ascribed the oldest surviving treatise on Indian theatre -- the Nāṭyaśāstra. By referring to the dance of the devadasis by this term the revivalists made the point that these dances followed aesthetic and technical precepts that had been laid down in the ancient Sanskrit text.

Image by prosha amiri
19499 [Converted]-03 (1).png
  • Facebook
  • Youtube
  • Instagram
  • Whatsapp

+1 (312) 371-7977

© 2023  Kaivalya Arts, All Rights Reserved | Developed by : W3Webhelp

bottom of page