As we all have heard, dance is the ultimate language. No matter our age, everyone has a dancer inside us. Some dance in public and some in their private space. But we all love to dance. We are the generation who cannot stop shaking their feet on the beats. When it comes to dance, we all some great memories related to this. This article to all those dancers who are still pursuing it as their career, or left it to pursure their other career or due to any other reason, to remind you that you can get out of dance but dance cannot get out of you. No matter how much we are stuck in our lives but dance for some minutes always relieves our stress. All of us lie that we cannot dance or we don’t like dance, but their isn’t even one of us who cannot stop their feet or arms when our favourite song comes on. Dance has many forms. It can be bollywood, belly dance, banghra, western hip hop or our cultural dance. Dance gives us confidence and helps us to lose the stage fear. It gives us cheerfulness and brings happiness to the soul. It is great stress buster so we should have a routine of dancing for minutes to get relieved of the regular stress and can help us to stay in shape. Shoutout to every dance in each one od us, let’s take it out and dance to the beats like no one’s watching.
Dance Forms of Uttar Pradesh Uttar Pradesh has a dazzling culture equipped with traditional customs and practices. The equivalent culture is reflected in dance forms as well. Categories of dance form include Classical dance form, Folk dance form, and religious dance form. Kathak is one out of eight of the significant Indian Classical dance forms. The title “Kathak” is taken from the Sanskrit word “Katha” (meaning story). Kathak dancer uses their hand moves, footwork, and facial expression to narrate stories. Kathak has three distinct schools known as Gharanas. They are Lucknow Gharana, Banaras Gharana, and Jaipur Gharana. Lucknow and Banaras Gharana focuses on facial and hand expression, whereas Jaipur Gharana focuses more on foot movements.
Some of the folk dance of Uttar Pradesh are Raslila, Khyal, Nautanki, Naqal, Svanga, etc.
Raslila Raslila is from the Braj region of Uttar Pradesh, based on the scenic views of Lord Krishna. The term ‘ras’ points to Krishna’s joyous and Lila means to play. It has fused elements of Indian classical music, play, and dance.
Khyal Khyal dance is also popular in Rajasthan. It is a form of dance that includes multiple themes and is portrayed especially by men. It also incorporates mime and chanting. The trained dancers of Khyal are known as Bhawni. Some great Khyal forms are Jaipuri Khyal, Abhinaya Khyal, Ali Baksh Khyal, etc.
Nautanki Nautanki dance form is a blend of historical, mythological or traditional art. It combines dance, music, and lyrics with a storyline, making it a full entertainment unit. They are also based on patriotic or social themes as it has a great impression on the audience.
Naqal The term Naqal is obtained from the Persian word to imitate. Naqals are the experts that present this dance form. It sarcastically unveils the unpleasant darkness spread on our life. It is also prevalent in Kashmir and Punjab.
Svang Religious and folk tales are portrayed by ten to twelve persons in a group either in public or an open-air theatre circled by the people. Dialogues control the performance accompanied by song.
Ramlila Ramlila is a well known religious dance form of Uttar Pradesh. The Story of Rama is represented as a stage performance which has a great religious significance for the Indian heritage. It is a part of the festival of Dusherra.
Uttar Pradesh Dance Forms Uttar Pradesh has a dazzling culture equipped with traditional customs and practices. The equivalent culture is reflected in dance forms as well. Categories of dance form include Classical dance form, Folk dance form, and religious dance form. Kathak is one out of eight of the significant Indian Classical dance forms. “Kathak” term is taken from the Sanskrit word “Katha” that means a story. Kathak dancer uses their hand moves, footwork, and facial expression to narrate stories. Kathak has three distinct schools known as Gharanas. They are Lucknow Gharana, Banaras Gharana, and Jaipur Gharana. Lucknow and Banaras Gharana focuses on facial and hand expression, whereas Jaipur Gharana focuses more on foot movements.
Some of the folk dance of Uttar Pradesh are Raslila, Khyal, Nautanki, Naqal, Svanga, etc. Raslila is from the Braj region of Uttar Pradesh, based on the scenic views of Lord Krishna. The term ‘ras’ points to Krishna’s joyous and Lila means to play. It has fused elements of Indian classical music, play, and dance. Khyal dance is also famous in Rajasthan. It is a form of dance that involves multiple themes. They are performed particularly by men and incorporate mime and chanting. The trained dancers of the khyāl are recognized as “Bhawni”. Some famous Khyal forms are Jaipuri Khyal, Abhinaya Khyal, Ali Baksh Khyal, etc. Nautanki dance form is a blend of historical, mythological or traditional art. It combines dance, music, and lyrics with a storyline, making it a full entertainment unit. They are also based on patriotic themes or social themes as it has a great impression on the audience. Naqal term is taken from the Persian word “to imitate”. It is presented by artists called Naqals. It reveals sarcastically the unpleasant darkness spread on our life. It is also popular in Kashmir and Punjab. Svang Religious and folk tales are portrayed by an assembly of ten to twelve persons in public or in an open-air theatre circled by the people. Dialogues control the performance accompanied by song.
Religious dance form Ramlila is famous in Uttar Pradesh. The Story of Rama is represented as a stage performance which has a great religious significance to the Indian heritage. Mostly performed on the festival of Dusherra.
Andhra Pradesh has always been known for its rich culture. This wonderful state has presented a wide range of performing arts, including dance, drama and music, to the world. Dance is the most interesting form of performing arts that has been encouraged from centuries in India. Kuchipudi, the renowned classical dance has emerged from Andhra Pradesh. Kuchipudi is the name of a village in the Krishna district of Andhra Pradesh. It is about 35 km. from Vijayawada. Andhra has a very long tradition of dance-drama which was known under the generic name of Yakshagaana. In 17th century Kuchipudi style of Yakshagaana was conceived by Siddhendra Yogi a talented Vaishnava poet and visionary who had the capacity to give concrete shape to some of his visions. He was steeped in the literary Yakshagaana tradition being guided by his guru Teerthanaaraayana Yogi who composed the Krishna-Leelatarangini a kaavya in Sanskrit. Similar to all leading Indian classical dance forms, Kuchipudi too evolved as a religious art rooting back to the age-old Hindu Sanskrit text ‘Natya Shastra’ and connects traditionally with temples, spiritual faiths and travelling bards.Usually performance repertoire of Kuchipudi that is broadly oriented on Lord Krishna and the tradition of Vaishnavism include an invocation, dharavu – short dance, nritta – pure dance and nritya – expressive dance respectively. History The theoretical foundation of Kuchipudi is rooted back to the ancient Sanskrit Hindu text on the performing arts called ‘Natya Shastra’ which is accredited to Indian theatrologist and musicologist Bharata Muni. It is assumed that the full version of the text was first completed between 200 BCE to 200 CE, but such period also varies between 500 BCE and 500 CE. It incorporates verses in thousands that are structured in different chapters and divides dance in two distinct types that are ‘nrita’ that is pure technical dance and ‘nritya’ that is solo expressive dance. ‘Natya Shastra’, states Russian scholar Natalia Lidova, explicates various Indian classical dance theories including that of standing postures, bhava, rasa, basic steps, methods of acting, gestures and Tandava dance, which is associated with Lord Shiva. Bharata Muni not only mentions the Andhra region in this ancient text but also attributes an elegant movement called ‘Kaishiki vritti’ and a raga called ‘Andhri’ to this region. The raga that is associated with ‘Arsabhi’ and ‘Gandhari’ also finds place in several other Sanskrit texts dating back to the 1st millennium. The 10th century copper inscriptions validate the existence of Shaivism associated dance drama performance acts called ‘Brahmana Melas’ or ‘Brahma Melas’ in regions of South India with Telugu speaking populace. Brahmins performed this art during the medieval era. Vaishnavism that traditionally include Bhakti music and dance dedicated to Lord Krishna and evolved during the 2nd millennium presumably embraced this art form. It developed in South India’s Tamil region as ‘Bhagavata Mela Nataka’ and in Andhra region as Kuchipudi. Saskia Kersenboom mentions that both ‘Bhagavata Mela Nataka’ and Kuchipudi are closely related to the traditional theatre form of Karnataka called ‘Yakshagana’ and also incorporate Carnatic music like the latter, however the three retain their uniqueness palpable from their varied costume, format, innovative ideas and perceptions. Again author Manohar Laxman Varadpande states that this form came up in the late 13th century during the reign of the Eastern Ganga dynasty of Kalinga, who patronized art forms based on works of famed Sanskrit poet Jayadeva, most notably the ‘Gita Govinda’. Such auspices of the monarch saw several dance-drama troupes and bards incorporating concepts based on Radha and Krishna in traditional Kuchipudi, which were locally called ‘Vaishnava Bhagavatulus’. Tirtha Narayanayati, a composer of Carnatic music and a sanyasin of Advaita Vedanta (the oldest extant sub-school of Vedanta) and his orphan disciple Sidhyendra Yogi, a Telugu Brahmin, are accredited for initiating, methodizing and arranging the present day version of Kuchipudi in the 17th century. Narayanayati penned down a tarangini or a Sanskrit opera called ‘Sri Krishna Leela Tarangini’. The composition deals with the life of Lord Krishna from His childhood till His marriage to Rukmini and encompasses 12 Tarangams and includes 302 slokams, 153 songs and 31 choornikaas. Written as a libretto, this work apt for a dance drama has been performed by umpteen Indian classical dancers over the last two centuries. Village which is also known as Kuchilapuri, that the dance form derived its name as Kuchipudi. American born dancer Ragini Devi mentioned that the name of the village was deduced from the Sanskrit word ‘Kusilava-puram’ meaning of which is “the village of actors”. Late medieval period The dance form flourished in the 16th century under the auspices of the rulers of medieval era, which has been manifested by several copper inscriptions. The Vijayanagara Empire court records also indicate its performance at their royal court. However Islamic invasions, establishment of the Deccan Sultanates in the 16th century and a major military defeat of the Vijayanagara Empire at the hands of the Deccan sultanates in 1565 saw its decline. The political disturbances and wars also witnessed Muslim army demolishing temples and creating havoc in Deccan cities that lead many artists and musicians leave the place of whom around 500 families of Kuchipudi artists were given shelter by the Hindu king Achyutappa Nayak of the Tanjore kingdom. The king gave them lands to settle which developed to become the present day Melattur. As the art form withered in the 17th century the last Shia Muslim Nawab of Golkonda, Abul Hasan Qutb Shah impressed by its performance in 1678 aided the dancers in reviving the form by granting them land near the village of Kuchipudi (Kuchelapuram) on condition that they take forward this ancient dance form. However after Sunni Mughal Emperor Aurangzeb overpowered the Shia Sultanate in 1687, he ceased all non-Muslim practices ordering seizure and destruction of musical instruments and ban of music and dance performances in public. Colonial rule period The art form somewhat revived following the demise of Aurangzeb in 1707 and the subsequent decline of the Mughal Empire. However emergence of rule of colonial officials of East India Company during the 18th century and establishment of the British colonial rule in the 19th century saw decline of various classical dance forms which were subjected to contemptuous fun and discouragement including Kuchipudi. Eventually the social stigma associated with nautch girls of north India and Devadasis of South India added with highly critical and despicable attitude from the Christian missionaries and British officials, who held them as harlots, disgraced such systems. Furthermore the Christian missionaries launched anti-dance movement in 1892 to stop such practice. The Madras Presidency under the British colonial government banned the custom of dancing in Hindu temples in 1910. With this Kuchipudi that was performed conventionally during night time on a stage associated with a Hindu temple also saw its decline. After the ban, many Indians protested against the caricature and cultural discrimination, launching their efforts to preserve and reinvigorate their culture.Due to these efforts from 1920s onwards, the classical Indian dances witnessed a period of renaissance. Vedantam Lakshminarayana Sastri (1886–1956) was the influential figure who led the effort to save, reconstruct and revive Kuchipudi performance art. Sastri worked closely with other revivalists, between 1920 and 1950, particularly Balasaraswati and others determined to save and revive Bharatanatyam. Modern period The three influential figures in Kuchipudi, during the first half of twentieth century, were Vedantam Lakshminarayana Sastri, Vempati Venkatanarayana Sastri and Chinta Venkataramayya. Sastri focused on reviving and relaunching Kuchipudi after classical Hindu dances came under sustained ridicule and political degradation in the British Raj, while Venkataramayya was influential in productions for public performances and developing specialized forms of Yakshagana – another classical Indian dance, and Kuchipudi. Sastri is also remembered for encouraging and teaching Indian women to dance Kuchipudi as solo performers and in teams, as well as working with artists of other classical dances such as the Bharatanatyam that enabled the sharing and cross flow of ideas. Vempati Venkatanarayana Sastri was the guru of Sastri, taught him Kuchipudi, and was a key figure in helping preserve Kuchipudi. The historic All India Dance Seminar, organized by the national arts organization Sangeet Natak Akademi in 1958, thrust Kuchipudi to the national stage. Some Western dancers joined the Indians in preserving dance. The American dancer Esther Sherman, for example, moved to India in 1930, learnt Indian classical dances, changed her name to Ragini Devi, and joined the movement to save and revive classical Indian dances. Her daughter Indrani Bajpai (Indrani Rahman) learnt and became a celebrated Kuchipudi dancer. The public performances of Kuchipudi by Indrani Rahman and Yamini Krishnamurti outside of Andhra region, created wider enthusiasm and more interest through new students and the expansion of Kuchipudi as a creative performance art both within India and internationally. The latter half of the twentieth century was dominated by the Kuchipudi school of Vempati Chinna Satyam, whose efforts to further codify the modern repertoire earned him multiple accolades, including the Padma Bhushan. Some of the Indian movie actresses such as Hema Malini started their career as a Kuchipudi and Bharatanatyam dancer. Kuchipudi performances have now spread world-wide. Revival The Indian community disapproved such ban worrying that the rich and ancient custom of Hindu temple dancing was being persecuted on the pretext of social reform. As the Indian freedom movement progressed steadily during the early 20th century, an effort to revive Indian culture and tradition seethed with excitement among Indians. Many classical art revivalists questioned against such discrimination and joined hands between 1920 and 1950 in reviving the ancient classical dance forms. Among them Vedantam Lakshminarayana Sastri played an instrumental role in reviving and reconstructing Kuchipudi and also inspired women to tread this dance form. His guru Vempati Venkatanarayana Sastri also remained a central figure in preserving Kuchipudi. Chinta Venkataramayya, another stalwart popularised the dance form through public performances. Many Western artists who came to learn Indian classical dance forms became a part of the revival movement. One of them was American dancer Esther Sherman who came to India in 1930 and later adopted the name Ragini Devi. Repertoire Kuchipudi is a team performance, with roots in Hindu religious festivals. The drama-dance involves extensive stage movements and exacting footwork, wherein the underlying drama is mimed by expressive gestures of hand (mudras), eye and face movements. The expressive style is through a sign language that follows the classical pan-Indian Sanskrit texts such as Natya Shastra, Abhinaya Darpana and Nrityararnavali. The dance is accompanied with Carnatic music, while the recital is in Telugu language. Just like the Carnatic music style, Kuchipudi shares many postures and expressive gestures with Bharatanatyam, such as the Ardhamandali (half seating position or a partial squat, legs bent or knees flexed out).However, there are important differences, such as Bharatanatyam as a Hindu temple tradition trending towards geometric perfection and the spiritual, while Kuchipudi as a Hindu festival tradition trending towards more sensual supple and the folksy.
Traditionally the traveling dance troupe consisted entirely of men (often Brahmins), who moved from village to village, and performed on a stage set next to a Hindu temple.The male artists would dress up and act out the female role in a drama performed by these traveling troupes.In modern times, Kuchipudi has diversified, women have joined Kuchipudi dance, outnumber male artists, and are among its most celebrated artists. In some cases now, it is the Kuchipudi girl artists who dress up and act out the role of boys.
The repertoire of Kuchipudi, like all major classical Indian dance forms, follows the three categories of performance in the ancient Hindu text Natya Shastra. These are Nritta, Nritya and Natya.
The Nritta performance is abstract, fast and rhythmic aspect of the dance. The viewer is presented with pure movement in Nritta, 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 Kuchipudi actor articulates a story (particularly of Krishna) or a spiritual message. This part of a 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. Kuchipudi, in its history relied on a team a dance-actors, while in modern times Kuchipudi productions include solo or duo performances. Costumes While a male character wears dhoti, a female character wears a colourful sari that is stitched with a pleated cloth which opens like a hand fan when the dancer stretches or bends her legs while portraying spectacular footwork. Make-up is generally light complimented with traditional jewellery of the region which adorns her hair, nose, ear, arms and neck. A light metallic waist belt made of gold or brass adorns her waist while a leather anklet with small metallic bells called ghunghroo is wrapped on her ankles that produce rhythmic sounds while she performs brilliant footwork. Her hair is neatly braided and often beautified with flowers or done in tribhuvana style that depicts the three worlds. Her eye expressions are highlighted by outlining them with black collyrium. Sometimes special costumes and props are used for particular characters and plays, for example a peacock feathered crown adorns the dancer playing Lord Krishna. Instruments & Music The ensemble of a Kuchipudi performance includes a Sutradhara or Nattuvanar who is the conductor of the entire performance. He recites the musical syllables and uses cymbals to produce rhythmic beat. The story or spiritual message is sung either by the conductor or another vocalist or sometimes by the actor-dancers. The musical instruments usually include cymbals, mridangam, tambura, veena and flute.
Dance a word which when strikes your ear drum brings you a flood of emotions like excitement, fun, enjoyment, thrill, sensation and what not. Technically speaking there are various different types of dance like Contemporary, Belly,Ballet, Jazz,Tap,Hip-hop, Ballroom,Kathak, Bharatnatyam,Break dance, Salsa,Tango, Swing,Aerial………… the list is never ending. These forms may seem different in the sense of their way of presentation, their origin, their moves and techniques, their ethics but all of them carries the same spirituality and purity of freedom that dance gives to an individual.
Dance is the language of our soul and we communicate this language through our body moves. Just like we call ‘Father’ in English; ‘Pita’ in Hindi; ‘Pitri’ in Sanskrit; ‘Padre’ in Spanish; ‘Abbu’ in Urdu, but all of them make us picturize the same one Man in our lives whom all of us love and respect in the very same way ,no matter what we call him. Much in the same way Dance of different kinds, originating from different culture, different countries and with different morals , all of them gives the same wings to our soul , to our heart and to our thoughts.
If we take an insight into this sea containing different dancing waves we would discover that our every action, every movement, every gesture harmonized with beats becomes a step and the mixture of these steps become what we call DANCE. For instance, if our sweeping of the topmost rack of our bookshelf is accompanied with a little musical mix, it becomes the #Handsupintheair step; and if our action of washing dishes is given a tangy flavour of beats it becomes the famous #ChikChikBoomFire DJ step and last but not the least our simple walk when given a tuning touch becomes what we call ‘Moon Walk’.
Though ‘Dance is One’ just like ‘God is One’ but different types of dance unfolds a wide world of whirl and twirl to explore, with the great variety of different ideas, different morals, different beliefs, different thought processes, different abilities, different learnings and with so much differences realising the sense of togetherness.
Drawing to the closing lines: ‘Dance to express not to impress Feel it’s difference but live it’s togetherness’
Kathakali? What exactly is it? It is a dance form typically found in Kerala! It is a way of expressing various stories which includes a vast variety of genres of art. It consists of use of various masks, and make-up to express the story successfully. Well, even though it’s roots might be unclear, what makes it so special is the essence it gives out during each play performed by the actors. These actors are trained professionals who with the help of an instructor showcase various talents. Kathakali originally started near about during the 17th century. It was found to be written in the Sanskrit book named ‘Natya Shastra’. This Sanskrit book consisted of various art and dance forms eminent during that century. This word Kathakali comes from two specific words, namely, ‘Katha’ which means ‘story’ and ‘Kali’ means ‘dance’. So basically it’s a way of expression stories with the help of dance. There are 3 major drums used for the music involved in this dance form namely, ‘Itaykka’, ‘Centa’, ‘Maddalam’. The music plays a very important role in this form of dance and it also involves various voice forms to ensure the story is supplied in all its essence. It covers genres like romance seen in the famous play named, ‘Campa’, also other genres like heroic comic named ‘Atanta’. This Kathakali also has given rise to various other forms of dance namely, ‘Kuttiyattam’ and ‘Kriushnanattam’. Getting a full view of this Kathakali is a must have experience!
Bharatanatyam- The oldest classical dance in the world
Bharatanatyam originated 2000 year back in a place called Thanjavur in Tamil Nadu, explication of the word Bharatanatyam – bha stands for bhava, ra for raga and tha for tala and the word Natyam is a Sanskrit word for dance. Thus the word Bharatanatyam connotes a dance form which expresses the bhava, raga, and tala.
Bharatanatyam is a beautiful dance form with spectacular footwork, hand gestures, and facial expression. Bharatanatyam is an elegant dance form with 32 single-hand mudras called Asamyukta hasta and 23 double hand mudras called Samyukta hasta.
This dance is an illustrative narration of Ramayanam, Mahabharatham and other spiritual stories from Hindu texts. Bharatanatyam theoretically traced from the ancient text Nataya Shastra by the Bharatha muni, dated between 200 BCE and 200 CE.
God of dance-Lord Shiva
The Bharatanatyam dance is described in the Tamil text called Silappatikaram in the 2nd century and Manimegalai in the 6th century. These ancient texts describe the story of a dancing girl named Madhavi. A famous example which illustrates the Bharatanatyam dance form is Chidambaram temple and Kanchipuram temple. At Chidambaram temple sculptures near the south gate represents 108 poses of Bharatanatyam and also Karanas in the Natya Shastra.
The dance of Lord Shiva in Nataraja swami form is called Anada tandavam, the idol of Lord Nataraja depicts upper left hand holding the drum, upper right hand holding the fire, lower right hand Abhaya hastha whereas lower left-hand danda hastha pose. Left leg holds the Kunchita pada and the right leg standing on the Muyalagan (a demon). Lord Shiva in Nataraja swami form is called as God of dance.
Bharatanatyam performed by Devadasi’s
Devadasi is a girl who dedicates the whole life in taking care of the temple and worshiping the god, besides this, they learn Indian classical dance Bharatanatyam and maintain the high social status in the society, they were encouraged to pursue their art through the public fund.
Devadasi has to dance unwatched and dedicate her soul and herself to the lord, later few kings use to call them to dance in there court. Devadasi system was active in India for many centuries and during British colonization, they banned this system.
Why British colonization banned Bharatanatyam?
During the rule of British, they banished the Indian dance by launching an anti dancing movement in 1892, Christian missionary demanded to stop the dance through anti dance camp stating that Kathak by nautch girls and Bharatanatyam by devadasi’s considering them as harlots, debased erotic culture by slavery to idols and priests tradition. Rukmini Devi revived the art and brought it to the stage in the 1990s and the devadasi system was made illegal in 1988.
Grace and elegance in the Bharatanatyam dance form not only attracted Indians but also the western world. As a result, many foreigners are learning Bharatanatyam and giving a performance. The recent event conducted by the ‘All women world art festival by international art and culture organization’ bestows foreigners interest in Bharatanatyam, Yahui Chan from Taiwan, Iris Debieve from France and Larissa Ekambaram from south Africa performed the Bharatanatyam.
Dance: a non- verbal way to portray some thoughts, ideas and culture without words. If words would be humans, it would choose dance to express the pathos and glee. Indian classical dance came out to be as one of the way to picture the diversity of India. We, Art Directory India through a survey came out with some beautiful artists who through their dance have given life to thoughts.
Sonal Mansingh Coming across Sonal Mansingh who in an expressive way talks through her Odissi and Bharatanatyam dance form, She was the youngest grantee of Padmabhushan and was also awarded padmavibhushan. Her work has been a constant motivation to many young souls and also has inspired many through hee workshops and seminars. It’s her talent which made her one of the ‘Navratan’ in prime minister Narendra Modi’s Swachh Bharat Abhiyaan.
Pandit Birju Maharaj Talking about the classical dancers and not mentioning Pandit Birju maharaj would make the conversation incomplete. The recipient of many national and international awards among it -padmabhushan and kalidassamman became his major highlights. May it be a field of Hindustani Classical Music or Cinema, he is an awardee of many prizes including Film fare award for his incredible choreography in ‘BajiraoMastani’. This shows how prominent figure he is, not just for the field of dance and music but also for cinema.
Rani Karnaa Lived a life with her enormous talent, Rani Karnaa was one of the Kathak dancers who will always be remembered. Known for her aesthetic sensibilities, she not only used Tagore’s music but also his literature to polish her talent. She was the one who urged and made sure that Kathak would reach a level, everyone would remember.
Yamini Krishnamurthy One of the gems of India who was born in Andhra Pradesh, she was known for her Bharatanatyam dance. She was one of the forces, who changed the direction of the wind in favour of classical dance forms. This Artist who is known for her enormous talent has received many awards including Sangeet Natak Akademi Award. This ‘Asthana Narthaki’ was a passionate dancer and had inspired many minds.
Shovana Narayana Inspired by her Guru ‘panditbirjumaharaj’, she produced many works that has been known till date. She was the bird who made BirjuMaharaj’s dream fly and is known internationally. She fused Kathak with Western Dance form and tried to change the face of classical dance form. Her talent, skill and use of experiment made classical dance renowned. How we can help We, at Art Directory India are here to help you with all your opportunities. We make sure that you get the chances which are meant for you. Through our reach and contacts we provide you with the chances you are waiting for till now. We give you promotion and publicity that is required for your growth. Affiliation and just with mere registration you get all the chances and an exposure which is required for your growth.