Indian Art And Culture

Front 1

Puppet forms-introduction x 3

Back 1

1)Entertainment and ceremonial

2)originated-sanskrit plays-sutradhara

3)stories= puranic literature,local myths

Front 2

kathputli

Back 2

1) type:string puppetry

2) place: Rajasthan

3) Music: regional

4)strings - to fingers

Front 3

Kundhei

Back 3

1)type: string puppetry

2) Place: Orissa

3) Music: Odissi

4)strings-wooden props

Front 4

Gombayetta

Back 4

1)type: string puppetry

2) Place:Karnataka

3) Music: folk and classical blend

4)strings-5 to 7

Front 5

Bomallatam

Back 5

1)type: string puppetry

2) Place:Tamil Nadu

3) Sangam literature

4)rod + string(heavy)

Front 6

Shadow Puppet

Back 6

1) flat, leather, translucent

2) strong source of light behind

Front 7

Togalu gombeyetta

Back 7

1)type: shadow Pup

2) Place:Karnataka

3) Music: Regional

4)size-by status

Front 8

Tholu bommalata

Back 8

1)type: shadow Pup

2) Place:Andhra Pradesh

3) Music: Regional

4)size-large,coloured on both sides

Front 9

Ravanachayya

Back 9

1)type: shadow Pup

2) Place:Orissa

3) Music: Regional

4)size-large,coloured on both sides

Front 10

Glove puppet

Back 10

1) head-paper machie/wood/cloth

2)torso-long skirt

3)1st finger-head

thumb and MF- limbs

4)dialogues impt.

Front 11

Bener Putul

Back 11

1)type: glove Pup

2) Place:West bengal

3) SC -kahar-palanquin bearers

4)music:[folk,hindi,bengali]-humour & sarcasm

5) social portrayal

Front 12

Sakhi Kundhei,

Back 12

1)type: glove Pup

2) Place:Orissa

3) poor labourers

4)music:medieval poetry

5) sakhi natch-krishna radha

6)radha anklet=chandra badani

Front 13

Gulabu & Sitabu,

Back 13

1)type: glove Pup

2) Place:UP

3)mistress vs wife

4) humour, papier mache

Front 14

Rod puppet

Back 14

1)extension- glove pup

2)rods from below

3)west bengal,orissa

Front 15

Putul Nautch,

Back 15

1)type: Rod Pup

2) Place:West Bengal

3)bamboo-puppeteers move

4) costume-jatra(theatre

Front 16

Rod puppets,orissa

Back 16

1)type: Rod Pup

2) Place:Orissa

3)very small,

4)Music:odissi

4) hands tied to strings

Front 17

Yampuri

Back 17

1)type: Rod Pup

2) Place: Bihar

3)one piece,no joint

4)yama,chitragupta,

4) social lesson

Front 18

Painting

Back 18

Murals: large-painted directly on wall/floor.

Miniatures: small scale-cloth/paper

Front 19

Madhubani

Back 19

•Mithila painting.

•Madhubani village in Bihar.

•mythology, Janakraj,-ram sita wedding.•Traditionally- Madhubani‘s women-mud walls, later-cloth,canvas

•other devotional stories,moon,sun, tulsi etc is also found as theme.

•No empty space-gaps painted birds etc.

•three kinds : Brahmin,Tatoo & Kshatriya •twigs, brushes, fingers, matchsticks, and nib pens.

•natural dyes and colors.

•Eye-catching geometrical patters.

Hint 19

Types

Front 20

Tanjore

Back 20

Originated form Thanjavur, Tamil Nadu around 16th century.

•popular -home décor

•A unique art-form where precious stones and gold foils were used.

•Initially-Hindu Gods+Goddesses

•Figures= large &faces= round+divine.

•Lace or thread also used

•"muk"=chalk powder:African gum=2:1 -around the stones

•most depict-Child Krishna and his various pranks, paintings of other deities were also created.

•degrades with time

•deities of temples also depicted

Front 21

Rajasthani painting

Back 21

18th ct.-royals-Rajasthan.

•themes=Krishna,Ramayana,Mahabharata,

•walls of palaces,forts, havelis

Schools of Rajput Painting:

•The Mewar school that contains the Chavand, Nathdwara, Devgarh, Udaipur and Sawar styles of painting.

•The Marwar school-Kishangarh, Bikaner, Jodhpur, Nagaur, Pali and Ghanerao styles.

•The Hadoti school-Kota, Bundi and Jhalawar styles.

•The Dhundar school- Amber, Jaipur, Shekhawati and Uniara styles of painting.

Front 22

Mughal-humayun

Back 22

• Indian+Persian+Islamic styles.

•Evolved during-Mughal Rule

•Themes =battles,court scenes, receptions, legendary stories, hunting scenes, wildlife, portraits,

1)Developed- Humayun's return from exile, and brought Persian artists;

•brought Persian artists-Abd-us-samad and Mir-Sayyid Ali.

•famous example=Tutinama Painting;

Tales of a Parrot

Front 23

Mughal-akbar

Back 23

Under Akbar-massive growth

•Under Akbar - Ramayana, Mahabharata and Persian epics.

Front 24

Mughal-jahangir

Back 24

•Under Jahangir-refinement in brushwork, lighter colors.

theme-Jahangir's own life,

•famous example -pictorial Jehangir-nama, biography

Front 25

Bengal style painting

Back 25

•Flourished during-British Raj -20th century.•Indian nationalism, but promoted by British arts administrators.

•reactionary to academic art styles by Raja Ravi Varma and British art schools.

•art teacher Ernest Binfield Havell encouraged students to imitate Mughal miniatures.

•strike by students-complaints from local press, including nationalists-retrogressive move.

•Havell-supported by Abanindranath Tagore.•Tagore's best-Bharat Mata-

young woman, -four arms in the manner of Hindu deities, holding objects symbolic of India's national aspirations.

Front 26

Warli

Back 26

•Warli-tribe-Thane-Maharashtra

•discovered- in seventies,

•simplicity and fervor for life.

•Helical shapes-men+women

•concentric circles-symbols of circle of life.

•The harmony and balance in painting=harmony of universe of discourse

Front 27

Kalamkari

Back 27

Painting

•Done by using kalam (pen).

•two subtypes:

1)Mausalipatnam style-Islamic aesthetics- colour-ripe fruits.

2)Srikalahasti style -hindu mythology-colour-raw fruits.

Front 28

Pattachitra

Back 28

•Traditional-Orissa

•Based on Hindu Mythology and inspired by Jagannath and Vaishnava cult.

•Natural colours -fully old traditional way

•painted on canvas (Patta).

•Carefully done craftsmanship, rich colors, unique designs & creative motifs, & simple themes, which are chiefly mythological in origin on canvas.

•Paintings on-cave walls-(KUK)

Khandagiri temple

Udayagiri temple

Konark temple, and many other temples in Orissa.

Hint 28

Cults, temples, colours

Front 29

PAHARI

Back 29

MINIATURE

•Developed-17th-19th centuries

•stretching from Jammu to Himachal Pradesh, and each creating variations within the genre.

•bold intense-Basohli Painting-Basohli in Jammu and Kashmir.

•delicate and lyrical Kangra paintings-before other schools of paintings developed-reached its pinnacle with paintings of Radha and Krishna, inspired by Jayadev's Gita Govinda.

•new idiom in Indian painting-grew out of the Mughal painting.

•Patronized byRajput kings

Hint 29

Two types, patron

Front 30

Dance forms-intro

Back 30

•The dance heritage of India is at least 5000 years old

•The wall paintings of Ajanta and Ellora, the sculptures of Khajuraho-evidence for popularity of Indian dances from ancient times.

•Nataraja, the dancing Lord Shiva, is the supreme manifestation of Indian dance.

Front 31

Bharatanatyam

Back 31

Bhava (expression), Raga (music), Tala (rhythm) and Natya (classical theater).•It originates in South India.•It consists of multiple items:Nritta– pure dance movementsAbhinaya– dramatic art of storytellingNritya– combination of nritta & abhinaya•Performed on Carnatic music.•Costume are made of silk saris with gold embroidery and has a lot of pleats.•Necklace, Bangles and head ornaments are used as jewelry.•Bells mounted on woven pads are worn on the feet.

Hint 31

4 components, 3 parts

Front 32

Kathak,

Back 32

Name is derived from Katha (story) and Katthaka (who tells stories).•It originates from North India.•There are three main gharanas or schools:Lucknow, JaipurBenares•Dance progresses from slow to fast pieces. Has Footwork & spins and includes abhinaya-expression.•Performed on Hindusthani music provided by Tabla, Sitar, Santoor.•Costume includesGhungroos or bells on the anklesFemale- lehenga choli or chudidaar kameezMale- bare chest and dhoti or kurta churidar

Hint 32

Gharanas,anklet?

Front 33

Kathakali

Back 33

It originates from Kerala state.•Attractive make-up of characters and elaborate costumes are used.•Performance is a combination of five elements:Natyam (expression),Nritham (dance),Nrithyam (enactment),Geetham (vocal) andVadyam (instruments)•Carnatic music is used with Manipravalam as language of songs.•Elaborate makeup is used:Green face color- noble characters (Pacha)Green with red streaks- characters with evil streaksRed face color- excessively evil charactersWomen have yellow face color•Costumes are elaborate and differ according to character

Front 34

Kuchipudi

Back 34

It originates from Andhra Pradesh.•It shares many common elements with Bharatanatyam.•In Tarangam (a unique kuchipudi dance)- dancer dances on plate with diyas in the hands and vessel of water on the head.•Carnatic music is used.•Costumes are similar to Bharatanatyam.•Costume also include ‗Katcham‘ (long fold) at the back of the costume.•Female characters wear ornaments and jewelry.

Hint 34

Similar,special type

Front 35

Manipuri

Back 35

It originates from Manipur state.•Few features in its performance are:Movements are subtle and aim at devotion and graceRounded movements without jerks and sharp linesDancers feet never strike the ground hard•Music is provided by a singer, ‗Pung‘ (drum), cymbals and flute.•Costume includes:Female- dress called patloi and lehenga called kumin. Transparent odni is worn on the head and covers the face.Male- usually saffron dress depicting Lord Krishna.•Dancers do not wear ankle bells in this dance form

Hint 35

Dresses

Front 36

Mohiniattam

Back 36

Its name is derived from:Mohini- temptress andAttam- dance•It‘s a graceful dance performed only by women.•It has influences from Bharatanatyam and Kathakali.•Music includes Vocal (called chollu), Veena, flute, Maddalam & Idakka.•It is characterized by realistic makeup and simple dressing.•Costume includes white or cream sari with gold border and is profusely pleated.•Mainly gold ornaments are used as jewelry

Hint 36

Influenced by

Front 37

Odissi

Back 37

It originates from Orissa.•

Consists of three schools:Mahari,NartakiGotipua

•Tribhangi- independent movement of head, chest and pelvis

Chauka- basic square stance•Odissi music is used

.•Costume feautres Sari- beautiful cloth wrapped around body in traditional style in bright shades of orange, purple, red or green.

•Jewelry includes:Tikka (forehead ornament)Allaka (headpiece where tikka hangs)Ear covers in intricate shapes with jumkis (bell shaped earrings) hanging from them

Hint 37

Schools, special moves

Front 38

Sattariya

Back 38

Classical dance

•It originated in Assam state.•Performances are based on mythological stories and is performed by both men and women.•It is recognized as one of the classical dance forms of India in 2000.•Devotional songs called borgeets are used.•Instruments used are khols (drums), taals (cymbals) and flute.•Costume are made of pat (type of silk).•Ornaments are based on traditional Assamese designs.

Hint 38

Song, costume

Front 39

Folk dance

Back 39

•Indian culture includes a treasure of a variety of folk dances.

•The diversity in culture and tradition is reflected in the variety of Indian folk dances.

Front 40

Padayani

Back 40

•folk dance

One of the most colourful and enchanting dances of Southern Kerala.•Associated with the festival of certain temples.•These temples are formed in the districts of Alleppey, Quilon, Pathanamthitta and Kottayam districts.•The main kolams (huge masks) presented in Padayani are Kali, Kalan , Yakshi (fairy), Pakshi (bird), etc.•The literal meaning of Padayani is military formations or rows of army.•The performers consist of dancers, singers and instrumentalists.

Front 41

Kaikottikali

Back 41

Kaikottikali, Kerala folk dance

•Also known as Thiruvathirakali.•Dance performed by women, in order to attain everlasting marital bliss, on Thiruvathira day in the Malayalam month of Dhanu (December- January).•The sinuous movements executed by a group of dancers around a nilavilakku, embody 'lasya' or the amorous charm and grace of the feminine.•The dance follows a circular, pirouetting pattern accompanied by clapping of the hands and singing.

Front 42

Karakattam

Back 42

Karakattam, Tamil Nadu folk dance

•One of the most essential parts of a ritual, dedicated to Mariamma, the goddess of health and rain.•It is performed by men, wherein they balance pots filled with uncooked rice, surrounded by a tall conical bamboo frame covered with flowers.•Drums and long pipes form the musical instruments accompanying the dance.•Karakattam is popular in villages during temple festivals.

Front 43

Kummi

Back 43

Kummi, Tamil Nadu folk dance

•Kummi means to dance while clapping hands to a rhythm, accompanied by songs in popular tunes.•Women form a circle and dance during the Maariamman and Kaanum Pongal festivals for ten consecutive days.

Front 44

Chhau

Back 44

Chhau, West Bengal folk dance

•Originated from the Purulia distrct .•Mostly performed in the open space or ground field during the night.•It is a mask dance performed only by the male dancers.•The masks are made up from the clay and paper.•It is mythological, as it is mainly based on various episodes of the epics Ramayana and Mahabharata.•As the singer complete the invocation song, a host of drummers and musicians start beating the Dhol and the Dhamsa.

Front 45

Dalkhai

Back 45

Dalkhai, Orissa folk dance

•The 'Dalkhai' is a dance performed by women of the tribes from the Sambalpur district of Orissa.

•Energetic dance rendered during the time of festivals.

•The men generally play the musical instruments and the drummers often join the dance.

Front 46

Namagen

Back 46

Namagen, Himachal Pradesh

folk dance

•The autumnal hue is celebrated in september by a dance performance called Namagen.

•The most striking dance - Gaddis.

•The costumes- woollen and richly studded ornaments of silver are worn by women.

Hint 46

Most striking dance

Front 47

Bhangra

Back 47

Bhangra, Punjabi folk

•One of the most popular dances of India.•Performed during Baisakhi usually by the men in Punjab.

•It includes tricks and acrobatic feats.

•The songs include recitation of meaningless 'bolis', words, such as hoay, hoay.•The drummer usually in the centre of the circle, is surrounded by men dressed in lungis and turbans.

•The dance performed by the women folk of Punjab is called the 'Gidha'.

•In the Gidha, at a time a woman or a pair of women dance while the others clap in rhythm. The dance is performed in the festival of Teeyan to welcome the rains.

Hint 47

Women's,

Front 48

Ghoomer

Back 48

Ghoomer folk dance

•Famous and a community dance of women in Rajasthan.

•It is performed on various auspicious occasions like fairs & festivals.

•It is called as `Ghoomer`, from the `ghoomna` of Ghaghra i.e. the flowing of Ghaghra, a long skirt of the Rajasthani women.

•Women of all ages dance

•While dancing, the dancers move in a circular direction with clockwise and anti-clockwise steps

Hint 48

Dress

Front 49

Bihu Dance

Back 49

Bihu, Assam

•The Bihu dance is performed in the Bihu festival, celebrated for the arrival of spring in the Assamese New Year.

•The dance is performed in an open space during daytime.

Front 50

Cheraw

Back 50

Cheraw (Bamboo) folk Dance, Mizoram

•Long pair of horizontal bamboo staves are tapped open and close in rhythmic beats by people sitting face to face on the ground.•Because bamboos are used for the dance, people sometimes call it the BAMBOO DANCE.

Hint 50

Aka?

Front 51

Burra Katha

Back 51

Burra Katha Dance, Andhra Pradesh

•Burra' is a special instrument used by two performers.

•Demands oratory as well as dancing skills on the part of the performers.

•Three people to enact the story telling.

•Main artiste is dressed in a colourful attire with a garland round his neck and a tambura slung across his shoulder, the other two artistes dressed similarly question the narration to alert a sleepy audience.

•The two accompanying artistes have a drum and hand taal.

Front 52

Garba Dance

Back 52

Garba Dance, Gujrat folk dance

•This dance form has connection with Shakti-Puja.

•It is played in a circular form performed by ladies on the nine nights of Navaratri festival, Sharad Purnima, Vasant Panchami, Holi etc.•The word Garba is derived from the word `Garbha Deep` (a lamp inside a perforated earthen pot).

•In this folk dance, the women place the pot known as Garba with the lamp on their heads and move in circular direction, singing and clap at the same time.

Front 53

Dandia-Ras, Gujrat

Back 53

Dandia-Ras, Gujrat

•Also known as the `stick` dance.

•This dance -feature of-Navratri.

•The Ras is simple-young people move in circle, accompanied by a singing chorus and a host of musical instruments like the dhol, cymbals, zanz and shehnai.

Front 54

Tribal Dances

Back 54

Tribal Dances in India

•Performed by tribal people/adivasi, who possess a culture, distinct from the pan Indian population.

•Completely different from Indian folk dances.•Each tribe possesses its own distinguishable dance traditions interwoven with the life of the people who dance it.53

Front 55

Kaadar Nritham

Back 55

Kaadar Nritham

•Only women take part.

•Primitive dance of Kaadar tribes of the forest of Kochi area.

•The performers arrange themselves in a semicircle. They hold the tip of their cloths in their hands to the level of the waist and wave it to various rhythms of the dance.

•It is a very simple but elegant tribal dance in slow steps.

Front 56

Elelakkaradi

Back 56

Elelakkaradi

•A highly heroic group – dance.

•Almost the whole community of men, women and children participate.

•Very common with the tribal called Irular of Attappadi in Palakkad district.

•The dance brings out the fight of the people against the wild bears which often attack their tribal hamlets.

•Dancers move out in rhythmic steps, with vociferous shouts and war cries and keep time to the beatings of the primitive drums.

Front 57

Kaanikkar Nritham

Back 57

Kaanikkar Nritham

•Group dance of the kanikkar tribes from Tamil Nadu.

•Performed as a ritual offering.

•The steps of the dancers perfectly synchronize with the waving of the hands and beating of drums.

Front 58

Paravalli Kali

Back 58

Paravalli Kali

•Mixed dance of the aboriginals of dense forest of Travancore area.

•Both men and women participate.

•They dance holding arms together, or shoulder to shoulder, linked in a backlock posture.

•The men and women change their positions which amazing speed.

•The entire group of dancer sings songs and move swift rhythm in a circle.

•The linked arms swing to the rhythm in a fascinating wavelike movement.

Front 59

Maa Kali

Back 59

Man Kali tribal dance

•It is mainly of two kinds

The Ramayana episode-Sita-Maricha in the guise of a golden deer is enacted in graceful movements.

One man takes the role of a deer while another that of a hunter.

•The whole dance is performed to the rhythm of wild percussion instruments.

Hint 59

About

Front 60

Paniyar Kali

Back 60

Paniyar Kali

•Performed by tribal in Wayand district.

•Highly masculine and only men participate.•Around eight or ten dancers stand in a circle with hands linked together.

•Rhythmic flexions of body-stamp the ground in perfect rhythm to the loud beat - primitive percussion instruments-Karu, Para, Udukku, etc.

•As the dance gathers momentum the circle is swiftly expanded and contracted and the dancers utter peculiar cries which gradually run up to a high pitch.

Front 61

THAVALA KALI

Back 61

THAVALA KALI

•Boys jump one above the other in succession, imitating the leaps of the frog.

Front 62

EDAYA NRITHAM

Back 62

EDAYA NRITHAM

•Dance of the tribal shepherds.

•Both men and women participate.

•One of the shepherds sing. This is repeated in chorus by all the rest.

•As the singing is going in, one of them imitate the special sounds of shepherds driving their sheep.

•one person-cries successively to imitate the wild animals that try to attack the sheep and also the thief who tries to robe them while the other members of the group very adeptly bring out the terror on the faces of the lambs and their mournful wailings.

Front 63

Theatre forms in India

Back 63

At least 5000 years old tradition in India.

•According to legend the very first play was performed on heaven when the gods, having defeated the demons, were enacting their victory.

•Hindu theorists. plays in two types

Lokadharmi (realistic)

,Natyadharmi (conventional), more artistic than realistic.

•Indian theatre can be divided into three distinctive kinds:the Classical or the Sanskrit theatre the Traditional or the Folk theatre and the Modern theatre.

Hint 63

Two types hindu theorists,3 theatres of India

Front 64

Bhand Pather,

Back 64

Bhand Pather, Kashmir theatre

•Unique combination of dance, music and acting.

•Biting satire, wit and parody characterize the form.

•Music is provided with surnai, nagaara and dhol.

•The actors are mainly from the farming community and the impact of their way of living, ideals and sensitivity in the drama is discernible.

•Sometimes masks are also used in the performance

Hint 64

Who,genre

Front 65

Nautanki

Back 65

Nautanki, Uttar Pradesh

•Important centres are Kanpur, Lucknow and Haathras.

•The meters used in the verses are: Doha, Chaubola, Chhappai, Behar-e-tabeel.

•Initially only men acted in Nautanki but nowadays, women have also started taking part in the performances.

•Among those remembered with reverence is Gulab Bai of Kanpur.

Front 66

Swang

Back 66

Swang- Haryana and Western UP

•Musical folk-drama evolved in 18th century.•Has stories in verse sung in various mode (classical, semi-classsical, folk). However gradually prose has been included in it too enacted as dialogues.

•The softness of emotions, accomplishment of rasa along with the development of character can be seen in this theatre form.

•Two important styles of Swang are from Rohtak and Haathras.

Rohtak-Haryanvi (Bangru)

Haathras- Brajbhasha.

•Initially cast was all male but women have started participating.

•Swang means impersonation.

The Nautanki of UP, Khyal of Rajasthan are in this tradition

Hint 66

Two types

Front 67

Naqal

Back 67

Naqal, Punjab theatre

•Continues the Swang tradition.

•Naqal translates as mimicry or imitation and the naqalchi is the mimic. Relies heavily on improvisation by the naqalchi.

•Centuries-old village tradition, very popular at weddings.

•Solo performance of group of 2-3 dressed in rustic clothes.

•Perform a series of skits, in a small space, each lasting 10 mins or so. Made up of quick repartee, gentle satire.

•Subject-matter is purely social, like hilarious situations from the everyday. This form is purely secular.

Front 68

Bhavai

Back 68

Bhavai, Gujrat theatre

•Traditionally performed during Navratri before the shrine of Amba Mata or before a lamp symbolizing the deity.

•Important centres are Kutch and Kathiawar.•Instruments used in Bhavai are: bhungal, tabla, flute, pakhaawaj, rabaab, sarangi, manjeera, etc.

•In Bhavai, there is a rare synthesis of devotional and romantic sentiments

Front 69

Rasleela

Back 69

Rasleela-Uttar Pradesh

Theatre

•Based exclusively on legends of Lord Krishna•Believed that Nand Das wrote the initial plays based on the life of Krishna.

•The dialogues in prose combined beautifully with songs and scenes from Krishna's pranks.

Front 70

Jatra

Back 70

Jatra theatre

•Born and nurtured in Bengal

•Performed-in honour of gods,religious rituals and ceremonies

•Krishna Jatra became popular due to Chaitanya's influence. Later, however, worldly love stories too, found a place in Jatra.

•The earlier form of Jatra has been musical. Dialogues were added at later stage.

•The actors themselves describe the change of scene, the place of action, etc

Front 71

Nachya

Back 71

Nachya, Chhattisgarh, Vidarbha theatre

•Influenced by Ganda musicians and entertainment form Gammat.

•Select a situations from life of agricultural community and improvise. No written text is followed.

•Treatment is humourous and satirical•Play begins with invocation of Ganesh and Saraswati.

•In one form of nachya, the Jokkad Pari, the performers dance with flaming torches.

Hint 71

Form of nachya, musician entertainment form

Front 72

Maach

Back 72

Maach, Madhya Pradesh theatre

•The term Maach is used for the stage itself as also for the play.

•Songs are given prominence in between the dialogues.

•Dialogues are called bol and rhyme in narration is termed vanag.

•Tunes of this theatre form are known as ranga.

Hint 72

Dialogue,rhyme, tunes

Front 73

Tamaasha

Back 73

Tamaasha, Maharashtra

•It has evolved from the folk forms such as Gondhal, Jagran and Kirtan.

•The female actress is the chief exponent of dance movements in the play, (unlike other theatre-forms). She is known as Murki.•Classical music, footwork at lightning-speed, and vivid gestures make it possible to portray all the emotions through dance

Front 74

Bhaona

Back 74

Bhaona, Assami theatre

•Cultural glimpses of Assam, Bengal Orissa, Mathura and Brindavan can also be seen.•Bhaona is a presentation of Ankia Naat.

•The Sutradhaar, or narrator begins the story, first in Sanskrit and then in either Brajboli or Assamese.

•Ankiya naat are one-act plays interspersed with Sanskrit verses. They were composed for common people in simple language. A close link with Sanskrit theater can be seen.

Front 75

Dashaavtar

Back 75

Dashaavtar, Konkan & Goa

Theatre

•The performers personify the ten incarnations of Lord Vishnu

•Apart from stylized make-up, the Dashavatar performers wear masks of wood and papier mach.

Front 76

Krishnattam

Back 76

Krishnattam, Kerala theatre

•Came into existence in the mid 17th century A.D. in Calicut.

•Krishnattam is dance-drama presenting the story of Krishna in a cycle of eight plays performed for eight consecutive days.

The plays are Avataram, Kaliamandana, Rasa krida, kamasavadha, Swayamvaram, Bana Yudham, Vivida Vadham, and Swargarohana.

Front 77

Mudiyettu

Back 77

Mudiyettu, Kerala theatre

•Celebrated in the month of Vrischikam (November-December).

•Usually performed only in the Kali temples of Kerala, as an oblation to the Goddess.

•It depicts the triumph of goddess Bhadrakali over the asura Darika.

•The seven characters in Mudiyettu-Shiva, Narada, Darika, Danavendra, Bhadrakali, Kooli and Koimbidar (Nandikeshvara) are all heavily made-up.

•In 2010, Mudiyettu was included in the UNESCO Intagible Cultural Heritage List.

Hint 77

Which Temple and why?

Front 78

Theyyam

Back 78

Theyyam, Kerala theatre

•Word 'Theyyam' is derived from 'Daivam' meaning God. Hence it is called God's dance.•Theyyam is performed by various castes to appease and worship spirits of ancestors, folk-heores, deities of diseases etc.

• colourful costume and headgears (mudi) nearly 5 to 6 feet high made of arecanut splices, bamboos, leaf sheaths of arecanut and wooden planks and dyed into different strong colours using turmeric, wax and arac.•Face is always painted in an orange base-colour.

Front 79

Koodiyaattam

Back 79

Koodiyaattam / Kutiyattam, Kerala

Theatre

•Based on Sanskrit theatre traditions.•Characters of this theatre form are:

Chakyaar (actor),

Nambiyaar (instrumentalists) and

Nangyaar (those taking on women's roles). Sutradhar (narrator) and the

Vidushak (jesters) are the protagonists.•Vidushak alone delivers the dialogues.•Emphasis on hand gestures and eye movements makes this dance and theatre form unique.

•Koodiyaattam -UNESCO Intagible Cultural Heritage List

Hint 79

4 types of people, language

Front 80

Yakshagaana

Back 80

Yakshagaana, Karnataka

•Based on mythological stories and Puranas•Most popular episodes are from the Mahabharata i.e. Draupadi swayamvar, Subhadra vivah, Abhimanyu vadh, Karna-Arjun yuddh and from Ramayana i.e. Raajyaabhishek, Lav-kush Yuddh, Baali-Sugreeva yuddha and Panchavati.

Front 81

Burrakatha

Back 81

Burrakatha

•A storytelling technique used in villages of Andra Pradesh, Karnataka and Tamil Nadu. The troupe consists of one main performer and two co-performers.

•It is a narrative entertainment that consists of prayers, solo drama, dance, songs, poems and jokes.

•The topic will be either a Hindu mythological story or a contemporary social problem.•Harikatha, also known as Katha Kalakshepa, is a variant which narrates tales of Lord Krishna, other Gods and saints.

Front 82

Therukoothu,

Back 82

Therukoothu, Tamil Nadu

Theatre

•Literally means "street play". It is mostly performed at the time of annual temple festivals of Mariamman (Rain goddess) to achieve rich harvest.

•There is a cycle of eight plays based on the life of Draupadi.

Front 83

RAMMAN

Back 83

RAMMAN, Uttarakhand theatre

•Combining theatre, music, historical reconstructions, and traditional oral and written tales, the Ramman is a multiform cultural event

•Celebrated every year in Baisakh month (april) in the courtyard of the temple of Bhumiyal Devta situated in Chamoli district, Uttarakhand.

•Mask dance performed exclusively by the Bhandaris (Ksatriya caste).

•Included in the UNESCO Representative list of Intangible Cultural Heritage of Humanity

Front 84

Pandavani

Back 84

Pandavani theatre

•Chattisgarh and in the neighboring tribal areas of Orissa and Andhra Pradesh.

•Musical narration of tales from the Mahabharata with one lead narrator-singer, enacting and singing with an ektara.

•No use of stage props or settings, it mainly relies on mimicry and rousing theatrical movements. Sometimes the singer-narrator breaks into an impromptu dance, at the completion of an episode or to celebrate a victory with the story being retold

•During a performance, as the story builds, the tambura becomes a prop, sometimes it becomes to personify a gada, mace of Arjun, or at times his bow or a chariot, while others it becomes the hair of queen Draupadi or Dushshasan thus helping the narrator-singer play all the characters of story.

•Teejan Bai is most renowned singer to this style.

Hint 84

Famous singer

Front 85

Khyal

Back 85

Khyal, Rajasthan theatre

•Derived from khel (play), khyal probably took shape as a musical dance-drama in the early eighteenth century.

•Based on mythological, historical, or popular romantic tales, emphasizing qualities of heroism, self-sacrifice, and nobility.

•Types of khyal are identified by the kind of stage used or the musical variations selected. Turra Kilangi -khyal -elaborately decorated Kuchamani-khyal is simpler in presentation but has specific music and dance steps.

•improvisatory in nature, humour

•intimate audience–actor relationship.

•soulful singing,

nakkara and dholak (both percussion),

sarangi (bowed instrument),

shehnai (wind instrument).

•Prompters on stage-like in Maach of MP where they are known as pustakji.

Hint 85

Types

Front 86

Bhagat

Back 86

Bhagat, Uttar Pradesh theatre

•Mainly in Agra and Mathura.

•Considered as a parent form of Nautanki and is 400 yrs old.

•devotionaal singing-devotees of the Vaishnava sect. Later-romance, valour and kings added.

• At the beginning an actor playing Ganesh dances on the stage, who is then worshipped by the other actors.

•Language of the bhagat is a mix of Hindi, Urdu, Braj.

Hint 86

Cult, language

Front 87

Veedhi Natakam

Back 87

Veedhi Natakam, Andhra Pradesh

•Presented during the religious festivals in praise of 'Bhagavan'. Thus the performances were called 'Bhagavathams'.

•Veedhi in Telugu means street; an open place. So Veedhi Natakam is any dramatic performance presented in a street.

Front 88

Theatre forms of India

Back 88

GENERIC FEATURES of TRADITIONAL THEATRE-FORMS

•Songs and the art of singing have an important role to play.

•There is a classical element in these theatre forms too, which takes on regional, local and folk coloring.

•There are certain conventions of presentations depending upon and changing according to the form and size of the stage or the platform and other available situations.

•Always continous

• direct and intimate communication between the actors and the audience.

•Characters keep changing their place on the stage to be more impressive and to give the situation a greater significance.

•Dialogue delivery is usually carried out in a high pitch.

•Lot of improvisation

Front 89

Uttarakhandi music

Back 89

Uttarakhandi folk music

•On subjects related to nature.

•traditions and life of Uttarakhand.

•Musical instruments-dhol-thali,

•Languages- Kumaoni and Garhwali.

Front 90

Lavani

Back 90

Lavani is the music and tamasha is the dance

•Lavanya = beauty.

•arid region of Maharashtra and Madhya Pradesh. It has in fact become a necessary part of the Maharashtrian folk dance performances.

•Traditionally, the songs are sung by female artistes(quick tempo), but male artistes may occasionally sing Lavanis.

•The dance format associated with Lavani is known as Tamasha.

•Lavani=song+dance with dholak

•Women wear nine-yard saris-

Front 91

Rajasthani music

Back 91

Rajasthani

•Rajasthan-musician castes,Langas(Muslim), Sapera, Bhopa, Jogi and Manganiyar (lit. the ones who ask/beg).

•stringed-Sarangi, Rawanhattha, Kamayacha, Morsing and Ektara.

•Percussion-huge Nagaras and Dhols to the tiny Damrus.

•The Daf and Chang are a big favourite of Holi (the festival of colours) revellers.

Flutes and bagpipers-Shehnai, Poongi, Algoza, Tarpi, Been and Bankia.

Hint 91

Musician castes

Front 92

Ganasangeet

Back 92

Ganasangeet

•Generally sung in chorus carrying some social message.

•The songs are usually about Freedom, community strength, patriotism.

•Due to the British occupation in India, a lot of protest songs about anti-imperialism/pro-socialism