Research Project On Dance - An Antidepressant
Research Project On Dance - An Antidepressant
Research Project On Dance - An Antidepressant
ON
Dance: An Antidepressant
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I would also like to thank all of my friends who motivated me during the course of
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INDEX
Sl.
No CHAPTERS Pg. No
1 INTRODUCTION
2 OBJECTIVE OF PROJECT
3 REVIEW OF LITERATURE
RESEARCH
4 METHODOLOGY
5 DATA COLLECTION
6 DATA ANALYSIS
7 LIMITATIONS
8 CONCLUSION
BIBLIOGRAPHY&
9 WEBLIOGRAPHY
INTRODUCTION
The history of dance is difficult to access because dance does not often leave behind
clearly identifiable physical artifacts that last over millennia, such as stone tools, hunting
implements or cave paintings. It is not possible to identify with exact precision when
dance became part of human culture.
Early dance
Dance has been an important part of ceremony, rituals, celebrations and entertainment
since before the birth of the earliest human civilizations. Archaeology delivers traces of
dance from prehistoric times such as the 30,000-year-old Bhimbetka rock shelters
paintings in India and Egyptian tomb paintings depicting dancing figures from c. 3300
BC. Many contemporary dance forms can be traced back to historical, traditional,
ceremonial, and ethnic dances of the ancient period.
Dance may have been used as a tool of social interaction that promoted cooperation
essential for survival among early humans. Studies found that today's best dancers share
two specific genes associated with a predisposition for being good social communicators.
As folk celebrations
Many dances of the early periods were performed to celebrate festivals, on important or
seasonal occasions such as crop harvest, or births and weddings. Such dances are found
all over the world.
Dance may be performed in religious or shamanic rituals. Ritual dances may also be
performed in temples and during religious festivals, for example the Rasa ritual dances
of India (a number of Indian classical dances may have their origin in ritual dances).
As a method of healing
Another early use of dance may have been as a precursor to ecstatic trance states in
healing rituals. Dance is used for this purpose by many cultures from the Brazilian
rainforest to the Kalahari Desert. Medieval European danses macabres were thought to
have protected participants from disease; however; the hysteria and duration of these
dances sometimes led to death due to exhaustion.
According to a Sinhalese legend, Kandyan dances originated 2500 years ago, from a
magic dance ritual that broke the spell on a bewitched king to cure the king of a
mysterious illness.
As a method of expression
One of the earliest structured uses of dances may have been in the performance and in the
telling of myths. It was also sometimes used to show feelings for one of the opposite
gender. It is also linked to the origin of "love making." Before the production of written
languages, dance was one of the methods of passing these stories down from generation
to generation.
An early manuscript describing dance is the Natya Shastra on which is based the modern
interpretation of classical Indian dance (e.g. Bharathanatyam).
During the reign of the last Mughals and Nawabs of Oudh dance fell down to the status
of 'nautch', an unethical sensuous thing of courtesans.
Later, linking dance with immoral trafficking and prostitution, British rule prohibited
public performance of dance. Many disapproved it. In 1947, India won her freedom and
for dance an ambience where it could regain its past glory. Classical forms and regional
distinctions were re-discovered, ethnic specialties were honored and by synthesizing them
with the individual talents of the masters in the line and fresh innovations emerged dance
with a new face but with classicism of the past.
Indian classical dance, or Shastriya Nritya, is an umbrella term for various performance
arts rooted in religious Hindu musical theatre styles,whose theory and practice can be
traced to the Sanskrit text Natya Shastra.
The number of recognized classical dances range from eight to more, depending on the
source and scholar.The Sangeet Natak Akademi recognizes eight – Bharatanatyam,
Kathak, Kuchipudi, Odissi, Kathakali, Sattriya, Manipuri and Mohiniyattam. Scholars
such as Drid Williams add Chhau, Yakshagana and Bhagavata Mela to the list. The
Culture Ministry of the Government of India includes Chhau in its classical list. These
dances are traditionally regional, all of them include music and recitation in local
language or Sanskrit, and they represent a unity of core ideas in a diversity of styles,
costumes and expression. Indian classical dance is made from India and classical dance
is played by various actors.
The Natya Shastra is the foundational treatise for classical dances of India, and this text
is attributed to the ancient scholar Bharata Muni.Its first complete compilation is dated to
between 200 BCE and 200 CE, but estimates vary between 500 BCE and 500 CE.The
most studied version of the Natya Shastra text consists of about 6000 verses structured
into 36 chapters. The text, states Natalia Lidova, describes the theory of Tāṇḍava dance
(Shiva), the theory of rasa, of bhāva, expression, gestures, acting techniques, basic steps,
standing postures – all of which are part of Indian classical dances.Dance and
performance arts, states this ancient text, are a form of expression of spiritual ideas,
virtues and the essence of scriptures.
While the Natya Shastra is the revered ancient text in the Hindu tradition, there are
numerous other ancient and medieval Sanskrit dance-drama related texts that further
discuss and expand on the classical repertoire of performance arts, such as the Abhinaya
Darpana, Abhinaba Bharati, Natya Darpana, Bhava Prakasa and many others. The term
"classical" (Sanskrit: "Shastriya") denotes the Natya Shastra-based performing arts.
The text Natya Shastra describes religious arts as a form as margi, or a "spiritual
traditional path" that liberates the soul, while the folk entertainment is called desi, or a
"regional popular practice".
Dance forms
The Natya Shastra mentions four Pravrittis (traditions, genres) of ancient dance-drama in
vogue when it was composed – Avanti (Ujjain, central), Dakshinatya (south), Panchali
(north, west) and Odra-Magadhi (Odisha-Bihar-Bengal, east).
OBJECTIVE OF PROJECT
What is so important about the act of dancing? Of course, it's an entertaining exercise,
but why is it so captivating? Why do you crave "the dance?"
Dancing: An energizing, captivating experience. We live it! We feel it! We breathe it!
We love it!
Dancing provides many great benefits and, while it's not possible to list them all, some of
the greater benefits are listed below:
Conveying a Message
Anyone observing a mother swaying around her house with her baby tucked safely in her
arms knows she is experiencing a moment of intense love for her baby while exercising
a tender embrace while caught up in the dance.
When a couple is dancing to a slow song and they look into each other’s' eyes and smile,
it's not difficult to realize they feel strong emotions for each other, regardless of whether
it's love or lust.
On another note, dance is an expression of art, in that it appeals to the emotions. For
example, a girl who pirouettes across a stage while performing ballet appears graceful
and elegant to many people, thus emotionally appealing.
A woman who dances slowly in the arms of a man she loves seems enchanted, which
brings happiness and, for some people, tears of joy.
Synchronized background dancers performing the same moves at the same time create
excitement and enthusiasm which liven up a crowd, especially if accompanied by upbeat
music.
However, an important point to remember is that just because many people enjoy the
dances they witness, that doesn't mean everyone is affected the same way. People
interpret things differently and, as a result, their emotional responses will differ.
As an example, let's re-visit the little ballet dancer mentioned above. While most of the
audience may be enthralled with her graceful performance, for a mother looking on who
has lost her daughter, there may be a feeling of sorrow mingled with the joy and awe of
the moment.
People dance in many places — at nightclubs and studios, at weddings and on the street.
They dance at home and, sometimes, at the workplace. Some even try to dance in their
vehicles, though it isn't something that would be recommended.
Of course, there are some types of dancing that children and teens should not be privy to
but, for most types of dance, there are few restrictions imposed as to where a person can
dance and the style of dance they choose.
2. Dancing to Find Unity
People come together through dance. It provides entertainment for people of all ages,
races, and backgrounds.
They enjoy time spent together in a positive, upbeat environment. They are energized and
inspired by other dancers in their midst.
The more adventurous dancers may try to emulate the moves of others, which provides
another sense of entertainment and draws people together.
Strangers have the potential to become friends, while families and friends bond more
closely because of the positive experiences they've shared on the dance floor.
Dancing helps bodies and minds relax as the music and surroundings take people away
from their anxiety and frustration for a while.
Mentally, they unwind and have fun, sharing a laugh or two. As their minds relax, their
bodies follow. Their muscles loosen up and tension and stress melt away.
A baby who giggles as his parents take turns dancing him around the house provides a
source of entertainment while bringing a sense of joy and peace to the home.
On another note, when people are laughing and trying to keep up with the moves involved
in line-dancing, they are being entertained. If they are new at line-dancing, they may be
providing entertainment for others. Their willingness to get on the floor and join in with
the others, regardless of whether they embarrass themselves, says a lot. They have lots of
energy, spunk, and determination, and they are willing to prove it on the dance floor.
5. Dancing for Exercise
Dancing is a great form of aerobic exercise since it works many muscles in the body.
Muscles become stretched, conditioned, and toned while the heart rate increases, pumping
blood at a faster rate.
As bodies feel the benefit of a workout during the cool-down period, it's a good practice
to have a few moments to rest after dancing, especially if it was a fast dance.
Between dances, stretch out leg and arm muscles or, at the very least, sit in a chair and
totally relax while rolling the neck slowly around, and then in a slow back and forth
motion to release tension which may have built up in the back of the neck.
Forming Affiliations
Professional dancers form affiliations. Some of these people will be seen on stage as
background dancers while a singer or group is performing. Sometimes singers themselves
dance as part of their performances.
Sometimes a dancer may only be known in a limited number of circles until someone in
an audience pays close attention. Overnight, or so it seems sometimes, a dancer goes from
an "unknown" to a "star."
Dancing can't help but enhance a performance, and the audience cannot help but pay
attention.
Dance compliments people with different tastes, emotions, needs, and backgrounds
because there is so much variety. As a result, dancing has not only become a universal art
form, but a universal language.
REVIEW OF LITERATURE
Dance is a type of art that generally involves movement of the body, often rhythmic and
to music. It is performed in many cultures as a form of emotional expression, social
interaction, or exercise, in a spiritual or performance setting, and is sometimes used to
express ideas or tell a story. Dancing is entertaining. Its passion for some people as well
as profession for some. Whether you can or you can’t but you dance! Everybody does.
Dancing for a few hours each week can really have a positive and powerful impact on
your well-being and in your life. Here’s why:
1. It’s good for your health. Studies show that dancing can help you lose weight,
improve your heart and lungs, increase your muscular strength and fitness and reduces
stress.
2. It doesn’t feel like a work-out. There are so many types of dancing you can choose
from that you will never have to stick to a boring routine or a tedious cardio session.
Dancing gives you the chance to work-out without dreading it. It’s also for all ages, shapes
and sizes and it’s timeless.
3. It’s good for your brain. According to studies; dancing can help boost your memory
and prevent you from developing dementia and maximizes your brain function.
4. Dancing soothes your soul. Music in general can make people feel better – by
combining the effects of both music and dancing you get a double shot of happiness that
helps get your mind off whatever difficulties you are going through.
5. It balances your energies. When you are in a group class, the fun and positive energy
of the people around you and the general atmosphere of the class will spread to you. It’s
contagious and it will definitely get to you the moment you step in the class.
6. It liberates you. Dancing is a form of self-expression. When you freely move your
body or dance for hours, you feel liberated. You don’t censor your body and there is no
social pressure to worry about. It can also be a form of meditation – you can actually lose
yourself in a dance or in a song and your focus becomes mainly on your body and your
movement.
7. It builds your self-confidence. You may be self-conscious at first when you start
dancing but after a few twists and tumbles, you will get the hang of it and feel more
confident about yourself. It also makes you feel better about your body and your
movement in general which is sometimes the only confidence boost you need.
8. It’s fun. People go out on weekends to dance, people go to concerts to dance and they
are always finding ways to dance because it’s fun and exciting. If you dance on a regular
basis you will be able to experience the same kind of fun without having to wait for a
special occasion to make it happen.
9. It improves your posture. Dancing can improve your posture and your overall body
language, it also improves your balance. Dancing works the back muscles surrounding
the spine which gives you a good posture.
10. You make new friends. If you’ve been attending the same dance class, you start
bonding with your fellow dancers especially if you meet up to dance after class!
11. It can help alleviate your mood swings or your insomnia. Dancing puts you in a
good mood and produces a lot of sweat that helps in detoxification of the body. It helps
you get rid of the harmful toxins in your body and helps you relax which can result in a
better night’s sleep.
12. You learn about other cultures. You can tell a lot about a certain culture by their
dance, it offers you an inside look at different cultures and it can definitely open new
doors for you to travel or mingle with people from different countries.
13. Dancing evokes creativity. Dancing can help you get in touch with your inner
creative and embrace your artistic and unconventional side. People who love dancing are
less likely to be judgmental or follow the rules which can inspire you to truly be yourself.
14. It makes you age gracefully. It’s an expression used in many cultures ‘dancers never
age,’ whether it’s their happy spirits, their enviable postures, their wonderful energies and
their strong connection to their minds and their bodies – dancers seem to have found the
fountain of youth right under their feet, and you can too.
Sources differ in their list of Indian classical dance forms. Encyclopædia Britannica
mentions six dances. The Sangeet Natak Akademi has given recognition to eight Indian
dances. The Indian government's Ministry of Culture includes eleven dance forms.
Scholars such as Drid Williams and others include Chhau, Yaksagana and Bhagavata
Mela to the eight classical Indian dances in the Sangeet Natak Akademi list.
The classical dance forms recognized by the Sangeet Natak Akademi and the
Ministry of Culture are:
Kathak
Kathak is one of the eight major forms of Indian classical dance. The origin of Kathak is
traditionally attributed to the traveling bards of ancient northern India known as
Kathakars or storytellers. The term Kathak is derived from the Vedic Sanskrit word Katha
which means "story", and Kathaka which means "the one who tells a story", or "to do
with stories". Wandering Kathakas communicated stories from the great epics and ancient
mythology through dance, songs and music in a manner similar to early Greek theatre.
Kathak evolved during the Bhakti movement, particularly by incorporating the childhood
and stories of the Hindu god Krishna, as well as independently in the courts of north
Indian kingdoms.
Kathak is found in three distinct forms, named after the cities where the Kathak dance
tradition evolved – Jaipur, Banaras and Lucknow. Stylistically, the Kathak dance form
emphasizes rhythmic foot movements, adorned with small bells (Ghungroo), and the
movement harmonized to the music. The legs and torso are generally straight, and the
story is told through a developed vocabulary based on the gestures of arms and upper
body movement, facial expressions, stage movements, bends and turns. The main focus
of the dance becomes the eyes and the foot movements. The eyes work as a medium of
communication of the story the dancer is trying to communicate. With the eyebrows the
dancer gives various facial expressions. The difference between the sub-traditions is the
relative emphasis between acting versus footwork, with Lucknow style emphasizing
acting and Jaipur style famed for its spectacular footwork.
Kathak as a performance art survived and thrived as an oral tradition, learnt and innovated
from one generation to another verbally and through practice. It transitioned, adapted and
integrated the tastes of the Mughal courts in the 16th and 17th century particularly Akbar,
was ridiculed and declined in the colonial British era, then was reborn as India gained
independence and sought to rediscover its ancient roots and a sense of national identity
through the arts.
Kathakali
Kathakali is one of the major forms of classical Indian dance. It is a "story play" genre
of art, but one distinguished by the elaborately colorful make-up, costumes and facemasks
that the traditionally male actor-dancers wear. Kathakali primarily developed as a Hindu
performance art in the Malayalam-speaking southwestern region of India
(Kerala).Katakali is similar to Mohiniyattam
Kathakali's roots are unclear. The fully developed style of Kathakali originated around
the 17th century, but its roots are in the temple and folk arts (such as Kutiyattam and
religious drama of the southwestern Indian peninsula), which are traceable to at least the
1st millennium CE. A Kathakali performance, like all classical dance arts of India,
synthesizes music, vocal performers, choreography and hand and facial gestures together
to express ideas. However, Kathakali differs in that it also incorporates movements from
ancient Indian martial arts and athletic traditions of South India. Kathakali also differs in
that the structure and details of its art form developed in the courts and theatres of Hindu
principalities, unlike other classical Indian dances which primarily developed in Hindu
temples and monastic schools.
The traditional themes of the Kathakali are folk mythologies, religious legends and
spiritual ideas from the Hindu epics and the Puranas. The vocal performance has
traditionally been performed in Sanskritised Malayalam. In modern compositions, Indian
Kathakali troupes have included women artists, as well as adapted Western stories and
plays such as those by Shakespeare and from Christianity.
Kuchipudi
Kuchipudi is one of the eight major Indian classical dances.It originated in a village
named Kuchipudi in the Indian state of Andhra Pradesh.
Kuchipudi is a dance-drama performance, with its roots in the ancient Hindu Sanskrit text
of Natya Shastra. It developed as a religious art linked to traveling bards, temples and
spiritual beliefs, like all major classical dances of India. Evidence of Kuchipudi's
existence in an older version are found in copper inscriptions of the 10th century, and by
the 15th century in texts such as the Machupalli Kaifat. Kuchipudi tradition holds that
Tirtha Narayana Yati – a sanyassin of Advaita Vedanta persuasion, and his disciple, an
orphan named Siddhendra Yogi, founded and systematized the modern version of
Kuchipudi in the 17th century. Kuchipudi largely developed as a Hindu god Krishna-
oriented Vaishnavism tradition, and it is most closely related to Bhagavata Mela
performance art found in Tamil Nadu.
The Kuchipudi performance usually begins with an invocation. Then, each costumed
actor is introduced, their role stated, and they then perform a short preliminary dance set
to music (dharavu). Next, the performance presents pure dance (nritta). This is followed
with by the expressive part of the performance (nritya), where rhythmic hand gestures
help convey the story. Vocal and instrumental Carnatic music in the Telugu language
accompanies the performance. The typical musical instruments in Kuchipudi are
mridangam, cymbals, veena, flute and the tambura.
The popularity of Kuchipudi has grown within India, and it is performed worldwide.
Odissi
Odissi also referred to as Orissi in older literature, is a major ancient Indian classical
dance that originated in the Hindu temples of Odisha – an eastern coastal state of India.
Odissi, in its history, was performed predominantly by women,[1][4] and expressed
religious stories and spiritual ideas, particularly of Vaishnavism (Vishnu as Jagannath).
Odissi performances have also expressed ideas of other traditions such as those related to
Hindu gods Shiva and Surya, as well as Hindu goddesses (Shaktism).
Modern Odissi is performed by children and adults, in solo or as group. Above is the
Tribhanga posture of Odissi.
The theoretical foundations of Odissi trace to the ancient Sanskrit text Natya Shastra, its
existence in antiquity evidenced by the dance poses in the sculptures of Odissi Hindu
temples, and archeological sites related to Hinduism, Buddhism and Jainism. The Odissi
dance tradition declined during the Islamic rule era, and was suppressed under the British
Rule. The suppression was protested by the Indians, followed by its revival,
reconstruction and expansion since India gained independence from the colonial rule.
Odissi is traditionally a dance-drama genre of performance art, where the artist(s) and
musicians play out a mythical story, a spiritual message or devotional poem from the
Hindu texts, using symbolic costumes, body movement, abhinaya (expressions) and
mudras (gestures and sign language) set out in ancient Sanskrit literature. Odissi is learnt
and performed as a composite of basic dance motif called the Bhangas (symmetric body
bends, stance). It involves lower (footwork), mid (torso) and upper (hand and head) as
three sources of perfecting expression and audience engagement with geometric
symmetry and rhythmic musical resonance. An Odissi performance repertoire includes
invocation, nritta (pure dance), nritya (expressive dance), natya (dance drama) and
moksha (dance climax connoting freedom of the soul and spiritual release).
Traditional Odissi exists in two major styles, the first perfected by women and focussed
on solemn, spiritual temple dance (maharis); the second perfected by boys dressed as girls
(gotipuas) which diversified to include athletic and acrobatic moves, and were performed
from festive occasions in temples to general folksy entertainment. Modern Odissi
productions by Indian artists have presented a diverse range of experimental ideas, culture
fusion, themes and plays.
Sattriya
One-act plays of Sattriya are called Ankiya Nat, which combine the aesthetic and the
religious through a ballad, dance and drama. The plays are usually performed in the dance
community halls (namghar) of monastery temples (sattras). The themes played relate to
Krishna and Radha, sometimes other Vishnu avatars such as Rama and Sita.
Manipuri
Manipuri dance, also known as Jagoi, is one of the major Indian classical dance forms,
named after the region of its origin – Manipur, a state in northeastern India bordering with
Myanmar (Burma), Assam, Nagaland and Mizoram. It is particularly known for its Hindu
Vaishnavism themes, and exquisite performances of love-inspired dance drama of Radha-
Krishna called Raslila. However, the dance is also performed to themes related to
Shaivism, Shaktism and regional deities such as Umang Lai during Lai Haraoba.
The roots of Manipuri dance, as with all classical Indian dances, is the ancient Hindu
Sanskrit text Natya Shastra, but with influences from the culture fusion between India,
Southeast Asia, East Asia, Central Asia, Siberia, Micronesia and Polynesia.[8] According
to the traditional legend, the indigenous people of the Manipur valley were the dance-
experts revered as Gandharvas in the Hindu epics (Ramayana and Mahabharata),
suggesting a dance tradition has existed in Manipur since antiquity. With evidence of
Vishnu temples in the medieval era, the dance arts have been passed down verbally from
generation to generation as an oral tradition. The first reliably dated written texts
describing the art of Manipuri dance are from the early 18th-century.
The Manipuri dance is a team performance, with its own unique costumes, aesthetics,
conventions and repertoire. The Manipuri dance drama is, for most part, marked by a
performance that is graceful, fluid, sinuous with greater emphasis on hand and upper body
gestures.It is accompanied with devotional music created with many instruments, with
the beat set by cymbals (kartal or manjira) and double-headed drum (pung or Manipuri
mrdanga) of sankirtan.
Manipuri dance is a religious art and its aim is the expression of spiritual values. Aspects
of this performance art is celebrated during Hindu festivals and major rites of passage
such as weddings among the Manipuri people, particularly in the ethnic majority of Meitei
people. The dance drama choreography shares the plays and stories of 'Vaishnavite
Padavalis', that also inspired the major Gaudiya Vaishnava-related performance arts
found in Assam and West Bengal.
Mohiniyattam
Mohiniyattam, also spelled Mohiniattam is one of two classical dances of India that
developed and remain popular in the state of Kerala. The other classical dance form from
Kerala is Kathakali. Mohiniyattam dance gets its name from the word Mohini – a mythical
enchantress avatar of the Hindu god Vishnu, who helps the good prevail over evil by
deploying her feminine powers.
Mohiniyattam's roots, like all classical Indian dances, are in the Natya Shastra – the
ancient Hindu Sanskrit text on performance arts. However, it follows the Lasya style
described in Natya Shastra, that is a dance which is delicate, eros-filled and feminine. It
is traditionally a solo dance performed by women after extensive training. The repertoire
of Mohiniyattam includes music in the Carnatic style, singing and acting a play through
the dance, where the recitation may be either by a separate vocalist or the dancer herself.
The song is typically in Tamil-Sanskrit hybrid called Manipravala.
The earliest mention of the word is found in the 16th-century legal text Vyavaharamala,
but the likely roots of the dance are older. The dance was systematized in the 18th century,
was ridiculed as a Devadasi prostitution system during the colonial British Raj, banned
by a series of laws from 1931 through 1938, a ban that was protested and partially
repealed in 1940. The socio-political conflict ultimately led to renewed interest, revival
and reconstruction of Mohiniyattam by the people of Kerala, particularly the poet
Vallathol Narayana Menon.
Bharatanatyam
Bharatanatyam style is noted for its fixed upper torso, legs bent or knees flexed out
combined with spectacular footwork, a sophisticated vocabulary of sign language based
on gestures of hands, eyes and face muscles. The dance is accompanied by music and a
singer, and typically her guru is present as the director and conductor of the performance
and art. The dance has traditionally been a form of an interpretive narration of mythical
legends and spiritual ideas from the Hindu texts. The performance repertoire of
Bharatanatyam, like other classical dances, includes nrita (pure dance), nritya (solo
expressive dance) and natya (group dramatic dance).
Bharatanatyam remained exclusive to Hindu temples through the 19th century, was
banned by the colonial British government in 1910, the Indian community protested
against the ban and expanded it outside the temples in the 20th century. Modern stage
productions of Bharatanatyam have incorporated technical performances, pure dance
based on non-religious ideas and fusion themes.
The term Bharata in Bharatanatyam, in the Hindu tradition, is believed to have named
after the famous performance art sage to whom the ancient Natya Shastra is attributed.
There is a false belief that the word Bharata is a mnemonic, consisting of "bha"–"ra"–
"ta".According to this belief, bha stands for bhava (feelings, emotions), ra stands for raga
(melody, framework for musical notes), and ta stands for tala (rhythm).The term Natyam
is a Tamil word for "dance". The compound word Bharatanatyam thus connotes a dance
which harmoniously expresses "bhava, raga and tala".
The theoretical foundations of Bharatanatyam are found in Natya Shastra, the ancient
Hindu text of performance arts.
Natya Shastra is attributed to the ancient scholar Bharata Muni, and its first complete
compilation is dated to between 200 BCE and 200 CE,but estimates vary between 500
BCE and 500 CE.The most studied version of the Natya Shastra text consists of about
6000 verses structured into 36 chapters.The text, states Natalia Lidova, describes the
theory of Tāṇḍava dance (Shiva), the theory of rasa, of bhāva, expression, gestures, acting
techniques, basic steps, standing postures – all of which are part of Indian classical
dances. Dance and performance arts, states this ancient text,are a form of expression of
spiritual ideas, virtues and the essence of scriptures.
Many of the ancient Shiva sculptures in Hindu temples are same as the Bharata Natyam
dance poses. For example, the Cave 1 of Badami cave temples, dated to 7th-century,
portrays the Tandava-dancing Shiva as Nataraja. The image, 5 feet (1.5 m) tall, has 18
arms in a form that expresses the dance positions arranged in a geometric pattern. The
arms of Shiva express mudras (symbolic hand gestures), that are found in Bharatanatyam.
Bharatanatyam, state Allen Noble and Ashok Dutt, has been "a major source of
inspiration to the musicians, poets, painters, singers and sculptors" in Indian history.
Dancers at Thanjavur, Brihadeshwara temple dedicated to Shiva. The temple has been a
major center for Bharatanatyam since about 1000 CE.
Some colonial Indologists and modern authors have stated Bharatanatyam is a descendant
of an ancient Devadasi (literally, servant girls of Deva temples) culture, suggesting
historical origins to 300 BCE to 300 CE. Modern scholarship has questioned this theory
for lack of any direct textual or archeological evidence. Historic sculpture and texts do
describe and project dancing girls, as well as temple quarters dedicated to women, but
they do not state them to be courtesans and prostitutes alleged by early colonial
Indologists.
According to Davesh Soneji, a critical examination of evidence suggest that the courtesan
dancing is a modern era phenomena, which began in late 16th or 17th century of the
Nayaka period of Tamil Nadu. According to James Lochtefeld, Bharatanatyam remained
exclusive to Hindu temples through the 19th century, and it appeared on stage outside the
temples only in the 20th century. Further, the Maratha rulers of Tanjore patronized and
contributed towards Bharatanatyam.
Rukmini Devi Arundale helped revive Bharatanatyam, after all Hindu temple dancing
was banned by the British colonial government in 1910.
With the arrival of colonial East India Company officials rule in the 18th century, and the
establishment of British colonial rule in 19th, many classical Indian dance forms were
ridiculed and discouraged, and these performance arts declined.Christian missionaries
and British officials presented "nautch girls" of north India (Kathak) and "devadasis" of
south India (Bharatanatyam) as evidence of "harlots, debased erotic culture, slavery to
idols and priests" tradition, and Christian missionaries demanded that this must be
stopped, launching the "anti-dance movement" in 1892. The anti-dance camp accused the
dance form as a front for prostitution, while revivalists questioned the constructed
histories by the colonial writers.
In 1910, the Madras Presidency of the British Empire altogether banned temple dancing,
and with it the Bharatanatyam tradition within Hindu temples
The 1910 ban triggered powerful protests against the stereotyping and dehumanization of
temple dancers. The Tamil people were concerned that a historic and rich dance tradition
was being victimized under the excuse of social reform. The classical art revivalists such
as E. Krishna Iyer, a lawyer and someone who had learnt the Bharatanatyam dance,
questioned the cultural discrimination and the assumed connection, asking why
prostitution needs years of learning and training for performance arts such as the
Bharatanatyam, and how can killing performance arts end any evils in a society? Iyer was
arrested and sentenced to prison on charges of nationalism, who while serving out his
prison term persuaded his fellow political prisoners to support Bharatanatyam.
While the British colonial government enforced laws to suppress Bharatanatyam and all
Hindu temple dances, some from the West such as the American dancer Esther Sherman
moved to India in 1930, learnt Indian classical dances, changed her name to Ragini Devi,
and joined the movement to save and revive Bharatanatyam and other ancient dance arts.
The Indian independence movement in early 20th century, already in progress, became a
period of cultural ferment and initiated an effort by its people to reclaim their culture and
rediscover history. In this period of cultural and political turmoil, instead of Bharatnatyam
becoming extinct, it expanded out of Hindu temples and was revived as a mainstream
dance by Bharatnatyam artists such as Rukmini Devi Arundale and Balasaraswati.They
championed and performed the Pandanallur (Kalakshetra) and Thanjavur styles of
Bharatanatyam, respectively.
In late 20th century, Tamil Hindu migrants reintroduced the Bharatanatyam traditions of
temple dancing in British Tamil temples.
Repertoire
Bharata Natyam is traditionally a team performance art that consists of a female solo
dancer, accompanied by musicians and one or more singers. The theory behind the
musical notes, vocal performance and the dance movement trace back to the ancient
Natya Shastra, and many Sanskrit and Tamil texts such as the Abhinaya Darpana.
The solo artist (ekaharya) in Bharatanatyam is dressed in a colorful Sari, adorned with
jewelry who presents a dance synchronized with Indian classical music. Her hand and
facial gestures are codified sign language that recite a legend, spiritual ideas or a religious
prayer derived from Hindu Vedic scriptures, the Mahabharata, the Ramayana, the Puranas
and historic drama texts. The dancer deploys turns or specific body movements to mark
punctuations in the story or the entry of a different character in the play or legend being
acted out through dance (Abhinaya). The footwork, body language, postures, musical
notes, the tones of the vocalist, aesthetics and costumes integrate to express and
communicate the underlying text.
In modern adaptations, Bharata Natyam dance troupes may involve many dancers which
play specific characters of a story, creatively choreographed to ease the interpretation and
expand the experience by the audience.
The repertoire of Bharatanatyam, like all major classical Indian dance forms, follows the
three categories of performance in the Natya Shastra. These are Nritta (Nirutham), Nritya
(Niruthiyam) and Natya (Natyam).
The Nritta performance is abstract, fast and rhythmic aspect of the dance.The viewer is
presented with pure movement in Bharatanatyam, wherein the emphasis is the beauty in
motion, form, speed, range and pattern. This part of the repertoire has no interpretative
aspect, no telling of story. It is a technical performance, and aims to engage the senses
(prakriti) of the audience.
The Nritya is slower and expressive aspect of the dance that attempts to communicate
feelings, storyline particularly with spiritual themes in Hindu dance traditions. In a nritya,
the dance-acting expands to include silent expression of words through gestures and body
motion set to musical notes. The actor articulates a legend or a spiritual message. This
part of a Bharatanatyam repertoire is more than sensory enjoyment, it aims to engage the
emotions and mind of the viewer.
The Natyam is a play, typically a team performance, but can be acted out by a solo
performer where the dancer uses certain standardized body movements to indicate a new
character in the underlying story. A Natya incorporates the elements of a Nritya.
Sequence
Alarippu
The presentation begins with a rhythmic invocation (vandana) called the Alaripu. It is a
pure dance, which combines a thank you and benediction for blessings from the gods and
goddesses, the guru and the gathered performance team. It also serves as a preliminary
warm up dance, without melody, to enable to dancer to loosen her body, journey away
from distractions and towards single-minded focus.
Jatiswaram
The next stage of the performance adds melody to the movement of Alarippu, and this is
called Jatiswaram. The dance remains a prelim technical performance (nritta), pure in
form and without any expressed words. The drums set the beat, of any Carnatic music
raga (melody). She performs a sequence (Korvai) to the rhythm of the beat, presenting to
the audience the unity of music, rhythm and movements.
Shabdam
The performance sequence then adds Shabdam (expressed words). The solo dancer, the
vocalist(s) and the musical team, in this stage of the production, present short
compositions, with words and meaning, in a spectrum of moods.
Varnam
The performance thereafter evolves into the Varnam stage. This marks the arrival into the
sanctum sanctorum core of the performance.[60] It is the longest section and the nritya.
A traditional Varnam may be as long as 30-45 minutes or sometimes an hour. Varnam
offer huge scope for improvisation and an experienced dancer can stretch the Varnam to
a desirable length. The artist presents the play or the main composition, reveling in all her
movements, silently communicating the text through codified gestures and footwork,
harmoniously with the music, rhythmically punctuated.
The dancer performs complicated moves, such as expressing a verse at two speeds. Her
hands and body tell a story, whether of love and longing, or of a battle between the good
and the evil, as the musicians envelop her with musical notes and tones that set the
appropriate mood.
Padam
The Padam follows next in the sequence of the performance. This is the stage of
reverence, of simplicity, of abhinaya (expression) of the solemn spiritual message or
devotional religious prayer (bhakti). The music is lighter, the chant intimate, the dance
emotional. The choreography attempts to express rasa (emotional taste) and a mood,
while the recital may include items such as a keertanam (expressing devotion), a javali
(expressing divine love) or something else.
Thillana
The performance sequence ends with a Tillana, the climax. It closes out the nritya portion,
the movements exit the temple of expressive dance, returning to the nritta style, where a
series of pure movement and music are rhythmically performed. Therewith the
performance ends.
The overall sequence of Bharatanatyam, states Balasaraswati, thus moves from "mere
meter; then melody and meter; continuing with music, meaning and meter; its expansion
in the centerpiece of the varnam; thereafter, music and meaning without meter; (...) a non-
metrical song at the end. We see a most wonderful completeness and symmetry in this
art".
Attire
The attires of a Bharatanatyam dancer resembles a Tamil Hindu's bridal dress. It consists
of a tailor fitted brilliantly colored Sari, with a special pleated cloth stitched that falls in
front and opens like a hand fan when she flexes her knees or performs footwork. The Sari
is worn in a special way, wrapping the back and body contour tightly, past one shoulder
and its end then held by a jewelry belt at the waist.
She is typically adorned with jewelry, outlining her head or hair, on ear, nose and neck.
Her face has conventional makeup, eyes lined and ringed by collyrium which help
viewers see her eye expressions. To her ankles, she wraps one or more leather anklets [
Ghungroos ]. Her hair is tied up in the traditional way, often braided in with fragrant
flowers (veni or gajra).
The fingers and feet outlines may be partially colored red with kumkum powder, a
costume tradition that helps the audience more easily view her hand gestures
Costumes in Bharatanatyam
Symbolism
Bharatanatyam, like all classical dances of India, is steeped in symbolism both in its
abhinaya (acting) and its goals. The roots of abhinaya are found in the Natyashastra text
which defines drama in verse 6.10 as that which aesthetically arouses joy in the spectator,
through the medium of actor's art of communication, that helps connect and transport the
individual into a super sensual inner state of being. A performance art, asserts
Natyashastra, connects the artists and the audience through abhinaya (literally, "carrying
to the spectators"), that is applying body-speech-mind and scene, wherein the actors
communicate to the audience, through song and music. Drama in this ancient Sanskrit
text, thus is an art to engage every aspect of life, in order to glorify and gift a state of
joyful consciousness.
The gestures used in Bharatanatyam are called Hasta (or mudras). These symbols are of
three types: asamyuta hastas (single hand gestures), samyuta hastas (two hand gestures)
and nrtta hastas (dance hand gestures). Like words in a glossary, these gestures are
presented in the nritta as a list or embellishment to a prelim performance. In nritya stage
of Bharatanatyam, these symbols set in a certain sequence become sentences with
meaning, with emotions expressed through facial expressions and other aspects of
abhinaya.
Modern revival: schools and training centers
Bharatanatyam rapidly expanded after India gained freedom from the British rule in 1947.
It is now the most popular classical Indian dance style in India, enjoys high degree of
support in expatriate Indian communities, and is considered to be synonymous with
Indian dance by many foreigners unaware of the diversity of dances and performance arts
in Indian culture. In the second half of the 20th century, Bharatanatyam has been to Indian
dance tradition what ballet has been in the West.
When the British tried to attempt to banish Bharatanatyam traditions, it went on and
revived by moving outside the Hindu temple and religious ideas. However, post-
independence, with rising interest in its history, the ancient traditions, the invocation
rituals and the spiritual expressive part of the dance has returned. Many innovations and
developments in modern Bharatanatyam, states Anne-Marie Geston, are of a quasi-
religious type. Major cities in India now have numerous schools that offer lessons in
Bharatanatyam, and these cities host hundreds of shows every year.
Outside India, Bharatanatyam is a sought after and studied dance, states Meduri, in
academic institutes in the United States, Europe, Canada, Australia, Sri Lanka, Malaysia
and Singapore. For expat Indian and Tamil communities in many countries, it is a source
and means for social life and community bonding. Contemporary Bharatanatyam
choreographies include both male and female dancers.
o Building repeated mental patterns and creating new pathways with each new
move learned.
o Relieving and preventing depression with endorphins and releasing several other
happy hormones.
o Increasing neural transmission especially when combined with singing and music,
in fact, new scientific studies show that any live drumming builds neuroreceptors
for folks with ADHD.
o Doubling the brain’s blood and oxygen levels when done aerobically, circulating
neurotransmitters.
o Offering hope in the battle of Alzheimer’s since dance helps increase the temporal
and prefrontal activity to improve communication skills, memory, and attention.
o Helping kids of all ages work and think faster, and form new interconnections in
their minds.
Dance is an enjoyable health promoting physical activity which many people worldwide
incorporate into their lifestyles today. This physical activity appeals to some who may
not be active and therefore may be another alternative of exercise.Dance for health has
become an important factor in the prevention, treatment and management in several health
circumstances. It is not only significant for your physical health but it also contributes to
your mental health and subsidizes social communication Dance is an art which is learned
from many cultures.
RESEARCH METHEDOLOGY
In general, the methodology of research and term of research design are seems to signify
the equal thing, but actually they are not same. Research design is “a plan or a blue print
of how a researcher intends to conduct a study”. The actual significance of research design
is to direct the way of data collection procedure and examine the data in order to response
for recognized research problem(s); but, the research methodology is to illustrate how
something would be done.
In this section, we will talk about the methods, which will be used for this study. Research
issues such as research design, sample, and population, procedure of sampling,
questionnaires and numerical examination are presented.
Research is an essential part of academics, “research is the systematic study of materials
and sources etc. in order to establish facts and reach new conclusions” (Oxford Concise
Dictionary). The process by which a research is written or carried out is very important
because it has a huge impact on the conclusions reached at the end of the research.
In natural sciences and social sciences, quantitative research is the systematic empirical
investigation of observable phenomena via statistical, mathematical or computational
techniques. The objective of quantitative research is to develop and employ mathematical
models, theories and/or hypotheses pertaining to phenomena. The process of
measurement is central to quantitative research because it provides the fundamental
connection between empirical observation and mathematical expression of quantitative
relationships. Quantitative data is any data that is in numerical form such as statistics,
percentages, etc. The researcher analyzes the data with the help of statistics. The
researcher is hoping the numbers will yield an unbiased result that can be generalized to
some larger population. Qualitative research, on the other hand, asks broad questions and
collects word data from phenomena or participants. The researcher looks for themes and
describes the information in themes and patterns exclusive to that set of participants.
In the beginning to get more familiar to the topic secondary information on the subject
was collected from studies done on Project . The source of secondary data was restricted
to the library of the institute of hotel Management.
It was decided to use a controlled opinion questionnaire and that too of alternative
choice variety . Thesetype of questionnaire were selected for two reasons.
DATA COLLECTION
Data Collection
The process of data collection is to collecting appropriate data about the research from
particular population. There are various way of data collections method such as
interviews, questionnaires, group interviews or conference and observation. Each of the
individual’s methods has its own and sole features; some advantages and disadvantages.
The advantage of questionnaire method is cost effectual, simple association and
straightforward analysis predominantly in a quantitative research.
Primary sources: We will first take a brief from the respective ministry and make a
database. We will view chain hotels and individual hotels and find the existing practices.
Since our project is based on primary data. We will frame a non biased structured
questionnaire which will be got filled up from the individual hotels
Secondary sources: For the initial research we will be using the secondary data which
will be applicable from books, magazines and journals. Both Primary as well as secondary
data has been collected from various stakeholders.In particular information on tourist
attractions –natural and manmade, existing tourism demand and tourism resources,
infrastructure development plans, land use plans, etc. were collected from all concerned
agencies.
DATA ANALYSIS
The main objective of data analysis is to facts, identify patterns, build up explanations
and test hypothesis. Various methods can be using for data analysis such as content
analysis, thematic analysis, theoretical sampling, grounded theory etc. The aim of data
analysis is to emphasize crucial information and advocate conclusions which help in
result making processes. Data analysis is a process that aims to describe facts, identify
patterns, develop explanations and test hypothesis. All of these help to highlight vital
information and recommend conclusions which help in decision making processes. Data
can be analyzed using various methods such as content analysis, theoretical sampling,
thematic analysis, grounded theory etc. Bernard (1952) defined content analysis as “a
research technique for the objective, systematic, and quantitative description of manifest
content of communications”. Thematic analysis is an approach to dealing with data that
involves the creation and application of ‘codes’ to data, there is a link between this
method and the grounded theory method. Grounded theory was discovered by Glaser and
Strauss (1967) as a method of analyzing data, it is a systematic analysis of data that aims
to develop a higher level of understanding or generate theories regarding a social
phenomenon.
Q: What is your age group?
a. 20-30
b. 30-40
c. 40-50
d. Above 50
RESPONDENTS %
10%
20%
20-30
30-40
40-50
Above 50
30 % 40 %
Dancing is more popular to the upwardly mobile and the youth group. So their
percentage is 40 and ages between 30-40
40-50 ages groups are professionals and they like to dance on social occasions or small
gathering
Above 50 age groups does not contribute to the total survey count due to health issues.
Q. Do you dance? (Professionally or as a sport/ a hobby)
RESPONDENTS(%)
Yes
7%
No
15%
35%
Used to dance.
43 % of the people surveyed were not interested in dancing or don’t know how to dance
RESPONDENTS(%)
32%
Classic types of dancing because of the
clean technic and the glorious costumes.
53 % People surveyed believe classical dance forms are best in technics and in showing
emotions.
32 % prefer modern dance form because they are eye catchy and trendy.
RESPONDENTS(%)
23% Yes
No
77 %
Majority of the people have actually believe that dance are expressive and one can show
different emotions through dance.
RESPONDENTS(%)
A hobby
9% An art
32%
24%
A profession
A sport
35%
Now-a-days lot of people choose dance as an art and there is percentage stands at 35% of
the people are aware of the facts.
RESPONDENTS (%)
Yes
10%
15% No
No Idea
75%
75 % People agree with the statement that it does affect health in a positive way and
have lot of benefits.
15 % People disagree with the statement and have their own reasons to justify.
RESPONDENTS (%)
1 - 2 times
17% 3 - 4 times
40%
12%
daily
31%
I don't dance
RESPONDENTS (%)
Bharatanatyam
8%
Kathak
10%
23 % Kathakali
5%
Kuchipudi
7% Odissi
16%
Sattriya
18 %
13 % Manipuri
Mohiniyattam
RESPONDENTS (%)
Male
9%
25% Female
66%
Others
66 % Surveyed audience were females and they actively participated in the survey.
1. Small universe
The Universe for this study is too small therefore the findings may not truly represent the
conditions in the entire industry.
2. Problem of Accessibility
It was very difficult in approaching the executives or the Guest as they were busy, despite
prior appointments, they were inaccessible and at times being engaged elsewhere.
3. Constraints of time
The respondents due to non-availability of time could not discuss many aspects of the
topic in depth.
4. Lack of Interest
5. Lack of Resources
There were very less research documents present on the web so lots of travel to places
helped research to fulfill the requirement
CONCLUSION
These days, people love to watch other people dance. Competitive dance shows like So
You Think You Can Dance and Dancing With the Stars are dominating the world of
reality television. What you may not realize, however, is that if you get off the couch and
dance yourself, it’s a great way to keep your body and mind healthy. Studies show that
dancing can help you lose weight, stay flexible, reduce stress, make friends, and more.
Boost Memory
Dance not only instills grace, but it also helps you age gracefully. According to a study
in The New England Journal of Medicine, dancing may boost your memory and prevent
you from developing dementia as you get older. Science reveals that aerobic exercise can
reverse volume loss in the hippocampus, the part of the brain that controls memory. The
hippocampus naturally shrinks during late adulthood, which often leads to impaired
memory and sometimes dementia.
Improve Flexibility
Those plies and arabesques that ballet dancers practice aren’t just for aesthetics — they
also increase flexibility and reduce stiffness. You can skip the ballet slippers and still reap
the benefits of ballet by practicing some simple stretches at home. Increasing your
flexibility will help ease joint pain and post-exercise soreness.
Reduce Stress
f you’re feeling tense or stressed out, you might want to grab a partner, turn up the music,
and tango! In a controlled study in the Journal of Applied Gerontology, researchers found
that partner dance and musical accompaniment can help bring about stress relief.
Diminish Depression
Dancing really does lift your spirits, according to a study in that tested the effects of
dancing on people with depression. Patients who participated in an upbeat group dance
showed the fewest depression symptoms and the most vitality.
Dance is a great activity for those at risk for cardiovascular disease. People with heart
failure who took up waltzing improved their heart health, breathing, and quality of life
significantly compared to those who biked or walked on a treadmill for exercise, noted
an Italian study.
Lose Weight
Bored with your bicycle? A study in the Journal of Physiological Anthropology found
that an exercise program of aerobic dance training is just as helpful for losing weight and
increasing aerobic power as cycling and jogging.
Balance Better
If you are nervous about falling as you get older, some dance lessons might help ease
your worries, according to a study in the Journal of Aging and Physical Activity that
showed tango dancing can improve balance in aging adults. Dancing requires a lot of fast
movement and good posture, so frequent dancing will help you stabilize and gain better
control of your body.
Increase Energy
Can’t seem to find your get-up-and-go? Taking a dance class might help. Research
published in The Scholarly Publishing and Academic Resources Coalition found that a
weekly dance program could improve physical performance and increase energy levels
among adults.
Make Friends
A dance class is the perfect setting to make new friends and branch out socially.
Maintaining positive relationships may just rank up there with healthy eating and
exercise. Being socially engaged leads to increased happiness, reduced stress, and a
stronger immune system.
Dancing can be a way to stay fit for people of all ages, shapes and sizes. It has a wide
range of physical, and mental benefits including: improved condition of your heart and
lungs, increased muscular strength, endurance and motor fitness, increased aerobic
fitness, improved muscle tone and strength, weight management, stronger bones and
reduced risk of osteoporosis, better coordination, agility and flexibility, improved balance
and spatial awareness, increased physical confidence, improved mental functioning,
improved general and psychological wellbeing, greater self-confidence and self-esteem,
and better social skills. Most forms of dance may be considered an aerobic exercise and
as such reduce the risk of cardiovascular disease, help weight control, stress reduction,
and bring about other benefits commonly associated with physical fitness. In addition,
studies have demonstrated a considerable correlation between dancing and psychological
well-being. It also helps with discipline, coordination, balance and memorization.
BIBLOGRAPHY & WEBLIOGRAPHY
MAGAZINE:
Outlook
The Times
Smart Life
Fitlook
INTERNET:
https://en.wikipedia.org/wiki/History_of_dance
https://thoughtcatalog.com/rania-naim/2016/04/14-reasons-why-dancing-is-the-only-
antidepressant-you-need/
http://www.selfgrowth.com/articles/role_of_dance_in_our_lives
https://en.wikipedia.org/wiki/Indian_classical_dance
https://en.wikipedia.org/wiki/Bharatanatyam
https://en.wikipedia.org/wiki/Kathak
https://en.wikipedia.org/wiki/Kathakali
https://en.wikipedia.org/wiki/Kuchipudi
https://en.wikipedia.org/wiki/Odissi
https://en.wikipedia.org/wiki/Sattriya
https://en.wikipedia.org/wiki/Manipuri_dance
https://en.wikipedia.org/wiki/Mohiniyattam
NEWSPAPER:
Times of India
The Hindu
Indian Express