Bharatanatyam Saige Shanceline Sebastian Jackie Tagiafouga Key Factors

Bharatanatyam Saige, Shanceline, Sebastian, Jackie, Tagiafouga

Key Factors The Dancers & Dances Dance Description Example of the dance Oppression or Privilege Evolution of Culture Contributions & Changes Conclusion, Questions, or Comments?

The Dancers & the Dances Bharatanatyam is the oldest and most popular of India’s classical dance, that originated in Tamil Nadu and has been a solo dance that was performed exclusively by women. The Dance is divided in six elements: Alarippu Jethiswaram Sabdam. Varnam & Padams Thillana

Dance Description Movement: Full body engagement and every placement of the body has a purpose. The dance can vary from rhythmic move, all depends on story being told. Meaning: Depends on the dance/ story being told. That is why not only the shape is very important but so is the placement. Costume: Sari with pleated cloth. Ghunghru (anklet with bells), Belt Henna and Makeup Music: Cymbals, flute, nagaswaram (a long pipe horn ), mridangam (a drum) and veena (stringed instrument). Singer (nattuvanar) Dance Space: Traditionally the dance was performed by Devadasis in temples.

Example

Oppression or Privilege Centuries ago, there were many dancers - priestesses in the Hindu temples in south India, called Devadasis. The classical Indian dance form Bharatanatyam survived colonial oppression and today exemplifies Indian identity both at home and abroad. The term Bharatanatyam today identifies a particular style of dance. Today Bharatanatyam is one of the most popular and widely performed dance styles and is practiced by male and female dancers all over India.

Evolution of Culture Expression E. Krishna Iyer, Balasaraswati and Rukmini Devi Arundale chiseled the dance into its present state. Today this ancient classical dance form includes technical performances as also non-religious and fusion based themes.

Contributions & Changes The sage Bharata author of the Natya shastra is traditionally credited for the newly invigorated classical dance came to be know as Bharatanatyam. The social standing of this dance form, which is now seen exclusively in theatrical settings. The dancers are constantly trying to achieve the perfect pose which convey a sense of timelessness they emphasizing their skeleton, their joints and the underlying bones structure which result is a "sculputuresque" visualized as a straight line dividing the body in half from head to toe.

Conclusion Bharatanatyam is practiced all over the world and is known because of its symbolism and difficulty. The quality of it has decreased because of lack of knowledge by the audience and the lack of dedication by the dancer. It can be seen as a privilege from Indians as it can be used to expand explore the world.

Cited Sources http: //www. webindia 123. com/dances/bharatanatyam/performance. htm. http: //indian. culturextourism. com/a-brief-history-and-evolution-of-bharatanatyam https: //en. wikipedia. org/wiki/Bharatanatyam http: //www. culturalindia. net/indian-dance/classical/bharatnatyam. html http: //explore. org/videos/player/the-language-of-dance http: //readanddigest. com/what-is-bharatanatyam/ http: //onlinebharatanatyam. com/2007/06/27/bharatanatyam-history/ http: //blogs. library. jhu. edu/wordpress/2011/07/bharatanatyam-and-mohiniyattam-classical-dances-of-south-india/ https: //www. youtube. com/watch? v=twp. OCb 7 b 98 c https: //www. urbanpro. com/a/bharatanatyam-temple-dance-classical-dance https: //commons. wikimedia. org/wiki/File: COLEMAN(1897)_p 055_MADRAS_NATCH_PARTY. jpg http: //amudu-gowripalan. blogspot. com/2012/01/history-and-origin-of-bharatanatyam. html http: //whyy. org/cms/articulate/bharatanatyam-yannick-nzet-sguin-afrofuturism / https: //www. google. com/search? q=nagaswaram&source=lnms&tbm=isch&sa=X&ved=0 ah. UKEwjw_a. PQmbn. VAh. VD 6 WMKHYh. DC 2 YQ_AUIDCg. D&biw=1920&bih=924#imgrc=g. Xwq 9 L 9 Fr 7 i 6 d. M: &spf=1501699158724 http: //smv. org. au/wp-content/uploads/2013/05/IMG_2041. jpg https: //4. imimg. com/data 4/JG/QK/MY-22447848/musical-mridangam-500 x 500. jpg Jonas, Gerald. "Chapter 2. " Dancing: The Pleasure, Power, And Art of Movement. New York: Harry N. Abrams, 2003. 59 -60. Print.
- Slides: 10