The role of expressions in Indian classical dances | Daily News

The role of expressions in Indian classical dances

The role of expression and interpretation of the meaning of verses in dance are popularly known as Abhinaya in Indian cultural dances. Abhinaya plays a major role in certain Indian classical dance forms. It is one of the most outstanding features and factor among the Indian classical dances. Abhinaya means the interpretation of songs through hand gestures and facial expressions. The dancer expresses and expounds the Manotharma of the songs through Bhavas (interpretation emotions) and Rasas. The essence of Abhinaya is called Bhavas and the substance of Brava is called Rasas. The concept of Bhava can be seen not only in dance but also one can feel it in the way of singing in the vocal music.

In the olden days, the hereditary members of the Isai Vellala families preserved the Bhavas and Rasas in dance and music. Through Abhinaya the dancer reaches the hearts of the audience. In music, this is done through Raga or the tone. By the way of singing the musician reaches the hearts of the people.

The ability in expressing Abhinaya (Bhavas and Rasas) differs from person to person. Abhinayas were referred to by Adiyarku Nallar the commentator of Sillapathikaramas ‘Molliya Moli’ which means language without language only through expressions. Through Abhinaya the people all over the world are linked together. Handling Abhinaya totally depends on the dedication, experience and involvements in the art. In Indian classical dances, as compared to Nirthya, the way of performing pure Nirtha is more technical and mechanical, mainly in the execution of Adavus and poses.

In Nirthya the personal ability, imaginative creativity and experience play a major role. Ancient temple dance Sadir (the earlier form of Bharatha Natyam) danced by Nautch dancers used various subtle movements in dance with lip movements, eye and eyebrow movements. The Nautch dancers were called Devadasis. Their way of interpretation of songs was direct. Each Indian classical dance has its own unique style and standard.

Most of the dances were solo performances but with the passage of time, all the dances were performed as group dances. Bharatha Natyam, Mohini Attam, Kuchipudi, Odissi and Kathakali are still performed as individual dances. Many present-day Bharatha Natyam dancers study Abhinayas from Kuchipudi, Kathakali and Bhgavatha Mela artistes. During the pre-Indian Independence period, all the above dance forms were only male dance forms.

Abhinayas of Kuchipudi and Kathakali are very rich. Still, Kuchipudi has more affinity with Bharatha Natyam. Originally, Kuchipudi and Kathakali were performed by males with exclusive expressions.

There was evidence that many Devadasis and non-Devadasi dancers learnt Abhinaya nuances and mastered their Abhinaya skills under Kuchupidi teachers. There is a reference that the famed Abhinaya Queen Balasaraswathi learnt Abhinayas under a Kuchipudi teacher. It is said that many devoted non- traditional and outstanding dancers also learnt Abhinayas under Kathakali exponents. Even the creative dancer Udaya Shanker learnt the nuances of Abhinayas under Kathakali exponents.


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