Dance
Odissi (Odissi) is the only classical dance in eastern India. It originates from the state of Orissa, in eastern India. It is the oldest surviving dance form of India on the basis of archaeological evidences. Odissi has a long, unbroken tradition of 2,000 years and finds mention in the Natyashastra of Bharatamuni, possibly written circa 200 BC.
Mahari Dance is one of the important dance forms of Orissa and originated in the temples of Orissa. History of Orissa provides evidence of the 'Devadasi' cult in Orissa. Devadasis were dancing girls who were dedicated to the temples of Orissa. The Devadasis in Orissa were known as 'Maharis' and the dance performed by them came to be known as Mahari Dance. Gotipua dance is another form of dance in Orissa. In Oriya colloquial language Gotipua means single boy. The dance performance done by a single boy is known as Gotipua dance.
There are many folk dances in east India, with the best-known being Ghumura Dance, Sambalpuri and Chhau dance.
Chhau dance (or Chau dance) is a form of tribal martial dance originating in Mayurbhanj, the princely state of Orissa.It is also seen in the Indian states of West Bengal, Jharkhand and Orissa. There are three regional variations of the dance. Seraikella Chau was developed in Seraikella, the administrative head of the Seraikela Kharsawan district of Jharkhand; Purulia Chau in Purulia district of West Bengal; and Mayurbhanj Chau in Mayurbhanj district of Orissa.
Ghumura Dance Archaeological evidence shows cave paintings from the pre-historic period discovered by Gudahandi of Kalahandi and Yogi Matha of Nuapada district that represent the Ghumura and Damru, among other instruments. These paintings date to as early as 8000 B.C. and from such painiting the antiquity of musical instrument Ghumura and Damru can be imagined. The origin of Ghumura goes back to ancient times. There is a beautiful waterfall in the river valley of Indravati which was initially recognized by Chindak Nagas of Chakrakot. Many believe that Ghumura dance originated from this river valley and gradually spread into the areas between Indravati and Mahanadi, indicating this dance form belongs to 10th century A.D.
The western Orissa has also great variety of dance forms unique to Orissa culture. The children's verses are known as "Chhiollai", "Humobauli" and "Dauligit". The adolescent poems are "Sajani", "Chhata", "Daika", "Bhekani". The eternal youth composes "Rasarkeli", "Jaiphul", "Maila Jada", "Bayamana", "Gunchikuta" and "Dalkhai". The work-man's poetry comprises "Karma" and "Jhumer", both pertaining to Lord Vishwakarma and the "Karamashani" goddess. The professional entertainers perform Dand, Danggada, Mudgada, Ghumra, Sadhana, Sabar – Sabaren, Disdigo, Nachina – Bajnia, Samparda and Sanchar. They are performed on a variety of occasions and their rhymes and rhythms change accordingly.
Bengali dance forms draw from folk traditions, especially those of the tribal groups, as well as from the broader Indian dance tradition.
Dance forms of Bihar are another expression of rich traditions and ethnic identity. There are several folk dance forms that can keep one enthralled, such as dhobi nach, jhumarnach, manjhi, gondnach, jitiyanach, more morni, dom-domin, bhuiababa, rah baba, kathghorwa nach, jat jatin, launda nach, bamar nach, jharni, jhijhia, natua nach, bidapad nach, sohrai nach, and gond nach.
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Famous quotes containing the word dance:
“We look at the dance to impart the sensation of living in an affirmation of life, to energize the spectator into keener awareness of the vigor, the mystery, the humor, the variety, and the wonder of life. This is the function of the American dance.”
—Martha Graham (1894–1991)
“The things a man has to have are hope and confidence in himself against odds, and sometimes he needs somebody, his pal or his mother or his wife or God, to give him that confidence. He’s got to have some inner standards worth fighting for or there won’t be any way to bring him into conflict. And he must be ready to choose death before dishonor without making too much song and dance about it. That’s all there is to it.”
—Clark Gable (1901–1960)
“Navajo men and boys have an odd way of showing their friendship. When two young men meet at the trading post, a “Sing”, or a dance they greet each other, inquire about the health of their respective families, then stand silently some ten or fifteen minutes while one feels the other’s arms, shoulders, and chest.”
—Administration in the State of Ariz, U.S. public relief program (1935-1943)