An Indian Art

ODISSI

Prashanth | 4:58 PM | Odissi

ODISSI

Odissi traces its origins to the ritual dances performed in the temples of ancient northern India. Today the name Odissi refers to the dance style of the state of Orissa in eastern India. Like other classical arts of India, this ancient dance style had suffered a decline as temples and artists lost the patronage of feudal rulers and princely states, and by the 1930s and 40s, there were very few surviving practitioners of the art.

The current form of Odissi is the product of a 20th century revival. Dedicated scholars and dance enthusiasts carefully researched manuscripts and studied the sculpture, painting and poetry of the region. They also met and observed the performances of the few existing performers, in order to revive and restructure Odissi as a unique classical dance style adapted to the requirements of formal stage presentation. Over the years Odissi has become one of the most popular classical dance styles.

Like other Indian classical dance forms, Odissi has two major facets: Nritta or non-representational dance, in which ornamental patterns are created using body movements in space and time; and Abhinaya, or stylized mime in which symbolic hand gestures and facial expressions are used to interpret a story or theme.

The divine love tales of Radha and the cowherd God Krishna are favourite themes for interpretation, and a typical recital of Odissi will contain at least one or two ashtapadis (poem of eight couplets) from Jayadeva's Gita Govindam, which describes in exquisite Sanskrit poetry the complex relationship between Radha and her Lord.
The technique of Odissi includes repeated use of the tribhangi, or thrice deflected posture, in which the body is bent in three places, approximating the shape of a helix. This posture and the characteristic shifting of the torso from side to side, make Odissi a difficult style to execute. When mastered, it is the epitome of fluid grace and has a distinctively lyrical quality that is very appealing.

Source: artindia.net

MUDRAS – SIGN LANGUAGE – basic alphabet

Prashanth | 12:21 PM | Images - Indian Art. , Kathakali

MUDRAS – SIGN LANGUAGE – basic alphabet

Pathakam

Mudraakhyam

Katakam

Musti

Kartharremukham

Sukathunddam

Kapidhakam

Hamsapaksham

Sikaram

Hamsassyam

Anjaly

Ardhachandram

Mukuram

Bhramara

Soochikamukam

Pallavam

Thripathaakam

Mrigaseersham

Sarpasirassu

Vardamanakam

Araalam

Oornanabham

Mukulam

Katakaamukham

THE HANDS - SIGN LANGUAGE OF KATHAKALI

Prashanth | 3:50 PM | Kathakali

THE HANDS - SIGN LANGUAGE:

The sign Language used in Kathakali is very important and is called MUDRAS –an ancient sacred sign language that originated in the Hindu temple ritualsthousands of years ago and later adapted into the dramatic language ofKathakali.

The Mudras are representative actions; emotional gestures and an actual signlanguage complete with an alphabet and sentence structure.

There are 24 basic Mudras used in Kathakali to tell the story – AsamyuthaMudras – using one hand and Samyutha Mudras – using both hands.

Just as letters of the alphabet become words when put together, these primaryhand shapes only develop into an actual language when put into context, withthe appropriate facial expression and a series of hand, arm and bodymovements.

With various combinations of the basic Mudras over 700 "words" are available tothe actor to tell a story.

THE TRAINING of KATHAKALI

Prashanth | 3:46 PM | Kathakali

THE TRAINING: KATHAKALI

The training of a Kathakali actor begins at an early age when young boys leavetheir homes to dedicate the entire lives to Kathakali.The rigorous training necessary for a Kathakali actor begins at 4.00am with eye and facial exercises followed with body exercises and the learning of the Kathakali plays.

In the monsoon season the actors undergo a daily painful session, whichinvolves body exercises followed by a special oil massage, called Uzichil. This makes the actor supple and physically prepared for the characters that he will eventually have to portray on stage.

There is a saying that summaries the Kathakali acting technique….

"Where the hands move, there the eyes follow,Where the eyes move the mind follows.Where the mind goods, the mood follows where the mood goes, there the Rasa [flavour] arises."

DRUMMERS, SINGERS, MAKE UP ARTISTS AND COSTUMERS all undergo years of specialised training guided by a Guru – Ashan. Eventually they will perform as a complex team of experts each bringing their own specialist contribution to the performance.

THE CHARACTERS: KATHAKALI

Prashanth | 9:39 PM | Kathakali

THE CHARACTERS: KATHAKALI

The characters are categorised into symbolic "personalities" ranging from the most

sanctified [Gods] to the most evil.

The characters represent the evolution of humanity and the sensitive relationship between

the individual, spirituality and society.

Situations are acted out where desperation and cruelty give way to truth and compassion. The

plays communicate on a deep and personal level intended to offer an example of how to

survive when enormous hardship is faced.

KATHAKALI CHARACTER TYPES are easily identified by specific make up, costumes and body language.

Two different characters belonging to the same category may "appear" visually the same, even

though performing in two separate plays. However, the story, slight changes in the make up

or costume will indicate the exact character on stage.

CHARACTERS