Nose Studs or Nose Ring

Nose stud or ring is worn by both married and unmarried Indian women. The significance of the nose stud varies from region to region. As in several other rituals, there is no written code in Hinduism regarding the wearing of nose ring or nose piercing. In certain Hindu sects, a nose ring is referred as ‘Nath’ is worn during marriage and is a symbol of married woman. There are several communities in Hindu religion which does not perform nose piercing.

Several ancient classical texts are silent on the nose stud and therefore there are several theories regarding the use of nose stud in Hindu religion. Some observe that nose stud was not used during ancient times and it was introduced by invaders during the 11th century.

Another school of thought quotes ancient Ayurvedic text Sushruta Samhita (Chikitsa Sthana Chapter 19) to suggest that nose piercing was prevalent from ancient period. It is believed that the piercing of the nose near a particular node on the nostril lessens the pain during monthly menstrual cycle. Some also believe that it protects women from nasal infection. (If the piercing is related to health, then why don’t men too do it?)

Nose stud is widely worn in South India, especially in Tamil Nadu and in parts of Andhra Pradesh and Karnataka, by both married and unmarried young women. It is known as ‘mookkutthi.’ In some instances, women wear nose stud on both the wings of their nose. Nose studs of Konkani brides from Goa are famous especially for its design, which are adorned with small fish or bird. Nose ring is not the preferred choice in South India.

Nose ring and nose stud are a preferred choice in North India and in several communities it is a must during marriage ceremonies. A nose ring or pin or stud can be made of gold, pearl and diamond. In some Hindu communities, the nose stud is not removed and it is a symbol of married women like sindoor and mangal sutra and is an essential part of Shodash Shringar or Solah sringar - the sixteen beautification processes of a bride.

There is no consistency in the wearing of nose stud or ring. In some region, it is worn on the left wing of the nose and in some region it is on the right. For example, a bride from Maharashtra wears it on left. In Gujarat, it is worn on the right. The size and style of nose stud also varies from region to region. The big nose ring is only worn on the marriage day. Some communities opt for small nose rings. Nose stud or ring is used in Uttar Pradesh, Rajasthan, Himachal Pradesh and Punjab.

There is also a kind of septum (the dividing part between two cavities) piercing, which is equally popular as nose piercing, in Nepal and in northern parts of India including Rajasthan and Himachal Pradesh. This nose ring is known as ‘Bulak.’ Such piercing is also practiced by in eastern India by some communities.

Nowadays, some Hindu women see nose stud as part of modern day trendy fashion jewelry. Some are also fighting against wearing of nose rings which act as an impediment in their daily activities.

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Mohini Attam

Mohini Attam is the feminine dance form of Kerala, a state in the south western most part of India. It is danced by women and is known for its very sensual themes. Mohini Attam has an extremely, slow seductive quality. It has only been in recent decades that Mohini Attam has risen in popularity and acceptability

There is a typical costume for Mohini Attam. It is generally simple and white, or off-white. Usually there is a gold brocade, possibly with a border of red. One of the most characteristic signs of the Mohini Attam dancer is the bun of hair worn off-centre. This is very much a characteristic of women from Kerala.

The myth of Mohini is central to the performance. According to the story, Brahma tells the other Gods how they can obtain amrit (celestial ambrosia); amrit bestows immortality and great power. He informs them that they can do so by churned up the ocean of milk. Unfortunately, the job is so great that the gods are forced to seek the assistance of the demons. The demons agree to help, but are secretly plotting to keep it all for themselves.

So the fateful day finally comes. The amrit has been rendered, but only after many difficulties. Vishnu finds out about the plot to steal the amrit. He knows that it would be disastrous for the demons to obtain such powers.

Vishnu decides to thwart the demons in their plans to steal the amrit. He takes the form of a beautiful celestial nymph (apsara), and by way of her amorous charms distracts them from their plans. By means of this distraction the amrit is given to the gods, and the world is saved from the demons.

Mohini Attam is just beginning to be accepted outside of Kerala. One is starting to find it used at toward the end of Bharat Natyam perfomances. Therefore, one is starting to find instruments that are normally associated with Bharat Natyam (e.g., mridangam, vina, venu). However more traditional forms use instruments such as shuddha madalam and edakka (uddaku).

Although there is a general tendency to call Mohini Attam classical, this is probably not justifiable. It is more appropriate to call Mohini Attam a traditional dance form.; We have three benchmarks to, help us decide whether something is classical; age, the ability to cross ethnic boundaries, and upper class associations. Mohini Attam clearly fails two of these benchmarks. It is very old, so this is not an issue. However, it has a very limited acceptance in the non-Malayali (non Keralite) communities. Furthermore, until recently it was generally looked down upon in "polite" society, so it was not something that had upper class connotations.

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Manipuri

Manipuri is one of the most beautiful dance styles of India. Nurtured in the mountainous region of the northeast, it takes its name from the name of the area, Manipur, which is now a state. Manipur literally means a jewel of a land, and the state is set like a gem in the verdant hills. The legend goes that the gods drained a lake in the beautiful countryside in order to find a place to dance. No wonder then, that dance is an inherent part of the rituals of daily life, such as weddings and homage to ancestors.

The Lai Haroba, a ritualistic dance depicting the Creation, is considered the precursor of Manipuri as seen today. The Lai Haroba is still an important living tradition, while Manipuri has expanded and gained popularity as a performing art in group and solo presentations.

Among the important constituents of the Manipuri repertoire are the Sankirtana and the Raas Leela, based on the devotional theme of Krishna and Radha. The Raas Leela depicts the cosmic dance of Krishna and the cowherd maidens. The beautiful embroidered skirts of the dancers, long and flared from the waist, and the transluscent veils, along with Krishna's costume with the tall peacock feather crown, add to the radiant appearance of this dance, as the performers sway and twirl to an ascending tempo.

Another vibrant feature of Manipuri is the Pung Cholam or Drum dance, in which dancers play on the drum known as Pung while dancing with thrilling leaps and turns to a fast rhythm.

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Kuchipudi

Kuchipudi, one of the art forms of the South had its origin in Andhra Pradesh. It presents scenes from Hindu Epics and mythological tales through dance-dramas combining music, dance and acting.

The lyrics used in Kuchipudi are usually in Telugu, though Sanskrit verses are also not uncommon. While Kuchipudi, like Bharata Natyam comprises pure dance, mime and histrionics, it is the use of speech as well that distinguishes its presentation as dance drama.

Kuchipudi dance-dramas, each present a particular episode or a series of episodes. A solo recital, on the other hand, typically consists of such items as the 'Sabdam', 'Bhama kalapam' which is the main item, 'Padams' and 'Tarangams'. In 'Bhama kalapam', the dancer has enormous scope for the dramatisation of characters. The main character is Satyabhama, a beautiful but arrogant queen who goes through the process of discovering the path of true love and devotion. In the 'Tarangam', the dancer frequently perform a balancing feat, her feet poised on the edge of a brass plate as she moves around.

Kuchipudi, a representation of a fine combination of Natya, Nritta and Nritya was earlier never a solo affair and required a number of actors. It was presented in the open air on an improvised stage by men and boys who were given a vigorous training in abhinaya, music, dancing and singing. Earlier the female roles were played by boys and young men of comely appearance. The Sutradhar or the director of the stage played the key role. He was the conductor, dancer, singer, musician, comedian, all rolled into one.

The play began with the orchestral music which included Mridanga, Madala and a pair of cymbals, followed by an invocation to a deity and appearance of Ganesha, the elephant headed god to bless the performance. Then came the dancers offering worship to the Flagstaff or Flag of Indra. The Sutradhara then announced the theme of the play, introduced the characters in his sing-song voice and appealed the audience to witness the show with attention. This marked the end of the prelude and the beginning of the play proper.

Each character entered the stage dancing and singing the merits of the character he or she was impersonating, which is known as 'Daruvus'. The play progressed at a leisurely pace and relaxed tempo punctuated with dances both abstract and expressional. It contained some very complicated items of original footwork such as tracing out an outline of a lion or an elephant with the feet on the floor or dancing with the feet on the edges of a circular brass tray or with a water pot delicately and precariously balanced on the head.

Today Kuchipudi is considerably a different style of dance form than it originally used to be. In most of the cases it is now a solo performance done by female dancers. The Sutradhara has become a phenomenon of the past and the Vachika abhinaya, that is, expressional numbers are sung by the danseuses herself instead by the vocalists in the background on the stage as was the traditional practice. The element of devotion to gods has also been done away with and it has become purely a secular affair with predominance of 'sringar' or erotic flavour. Besides the drama component has also been totally reduced. The main expressional number is from Jaideva's Ashtapadi, the Ramayana, the Puranas, Tirtha Narayana's Krishna Lila Tarangini or Tyagaraja's compositions, but now the dancer combines into herself the roles of the singer who sings the 'daruvu', the actor who speaks the lines and the dancer who mimes and dances to interpret the text. Elements not indigenous to the dance drama such as sculpture like stances and freezes based on perfect iconographic forms motifs and shapes have also been incorporated into Kuchipudi dance recitals to make it more competitive with other dance forms.

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Kathakali

Kathakali originated from a precursor dance-drama form called Ramanattam and owes it share of techniques also to Krishnanattam. The word "attam" means enactment. In short, these two forerunning forms to Kathakali dealt with presentation of the stories of Hindu mythology heroes Rama and Krishna -- and it's still largely the case. It was Kottarakara Thampuran (1625-1685) (ruler of the south Kerala province of Kottarakara) who composed several plays on the Ramayana, which led to the evolution of Kathakali. Today, Ramanattam is extinct, but its storyplays continue to be a part of Kathakali.

Kathakali also shares a lot of similarities with Krishnanattam, Koodiyattam (a classical Sanskrit drama existing in Kerala) and Ashtapadiyattam (an adaptation of 12th-century musical called Gitagovindam). It also incorporates several other elements from traditional and ritualistic art forms like Mudiyettu, Thiyyattu, Theyyam and Padayani besides a minor share of folk arts like Porattunatakam. All along, the martial art of Kalarippayattu has influenced the body language of Kathakali. The use of Malayalam, the local language (albeit as a mix of Sanskrit and Malayalam, called Manipravalam), has also helped the literature of Kathakali sound more transparent for the average audience. The characters with painted faces and elaborate costumes besides advanced choreography (primarily developed Kaplingad Narayanan Namboodiri - 1739-1789) to re-enact stories -- largely from the Hindu epics. Kathakali has traditionally been performed in temples and palaces, but over the past century it also finds venues in post-harvest paddy fields and, since the last few decades, in proscenium stages of public halls/auditoria and even in pagentry shows (in bits) of late.

Overall, what initially began as a rustic, uncivilised form gradually gained exquisite looks, sophisticated movements and complementary audio support to graduate itself as one of the world's most advanced dance-dramas today.

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Kathak

Kathak is a classical dance form from South Asia (originally from North India) and is the national dance of Pakistan. It is a partially narrative dance form characterized by fast footwork (tatkar), spins (chakkar) and innovative use of bhav in abhinaya. It has today a form that has been influenced at various times in the past by mythological narratives by kathakas or ancient bards, temple dances, the bhakti movement (both Vaishnavism and Shaivite), and Persian influence of the Mughal courts in the 16th century onwards; and these elements are readily discernible. Performers today generally draw their lineage from three major schools of Kathak: the Jaipur gharana, the Lucknow gharana and the Banaras gharana (born in the courts of the Kachwaha Rajput kings, the Nawab of Oudh, and Varanasi respectively); there is also a less prominent (and later) Raigarh gharana which amalgamated technique from all three preceding gharanas but became famous for its own distinctive compositions.

The name Kathak is derived from the Sanskrit word katha meaning story, and katthaka in Sanskrit means s/he who tells a story, or to do with stories. The name of the form is properly katthak, with the geminated dental to show a derived form, but this has since simplified to modern-day kathak. kathaa kahe so kathak is a saying many teachers pass on to their pupils, which is generally translated, 's/he who tells a story, is a kathak', but which can also be translated, 'that which tells a story, that is Kathak'.

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Bharata Natyam

Bharata Natyam is one of the oldest dance forms of India. It was nurtured in the temples and courts of southern India since ancient times. Later it was codified and documented as a performing art in the 19th century by four brothers known as the Tanjore Quartet whose musical compositions for dance form the bulk of the Bharata Natyam repertoire even today. The art was handed down as a living tradition from generation to generation under the Devadasi system under which women were dedicated to temples to serve the deity as dancers and musicians forming part of the elaborate rituals. These highly talented artists and the male gurus (nattuvanars) were the sole repository of the art until the early 20th century when a renewal of interest in India's cultural heritage prompted the educated elite to discover its beauty.

By this time the Devadasis had fallen upon evil days due to lack of state patronage and changed social mores. The revival of Bharata Natyam by pioneers such as E Krishna Iyer and Rukmini Devi Arundale brought the dance out of the temple precincts and onto the proscenium stage though it retained its essentially devotional character.

Today Bharata Natyam is one of the most popular and widely performed dance styles and is practiced by male and female dancers all over India. Due to its wide range of movements and postures and the balanced melange of the rhythmic and mimetic aspects lends itself well to experimental and fusion choreography. Degree and Post Graduate courses covering the practice and theory of Bharata Natyam as well as the languages associated with its development are available at major universities of India.

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Indian Classical Dance

Indian Dance, specifically, the classical dance of India, one of the most highly developed arts of Indian culture. It was an integral part of Sanskrit dramas, a mode of worship performed in the inner shrines of every temple, and a courtly pastime.
Indian dance is in 7 Classical Dance forms

• Bharata Natyam
• Kathak
• Kathakali
• Kuchipudi
• Manipuri
• Mohini Attam
• Odissi

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