DANCES OF UTTAR PRADESH
Folk Dances: Chholia, Raslila, Khyal, Nautanki, Naqal, Svanga, Charkula
Religious Dance Form : Ramlila
Dance is a way of life for the people of Uttar Pradesh.
Their enthusiasm and liveliness finds expression in their rhythmic dances.
In the 18th and 19 th centuries, Muslim influence saw the emergence of an
astounding range of dance forms that remain prominent in the performing
arts of India. Kathak, one of the four classical dances of India,
originated here. Ramlila, Rasalila, Nautankis and folk dances of Kumaon
hills (Jhora, Chhapeli, Jagar) are all dances, that reflect the lifestyle
and beliefs of the people.
CLASSICAL DANCE FORM
Kathak
The
main genre of north Indian classical dance, developed under the Nawabs,
the main theme being that of Krishna cavourting with the gopis. The
performances rely on strong and energetic footwork around laikari, the
intricate rhymthic compositions, accompanied by tabla.
THE FOLK DANCES
Chholia
This is a martial dance of the Kumaon region of Uttar Pradesh.
Traditionally, it used to be performed by warriors after their victorious
return from battle. Now, the dance is performed on festivals such as Holi,
Diwali, and in weddings. The dance displays acrobatic skills of the
dancers who use swords and shields. The dance movements include whirls,
jumps, twists and turns.
Raslila
It is a generic term that includes many dances and dance-dramas
throughout the country, all of them based on one theme. The term 'ras'
refers to Krishna's joyous, circular dance with the maids and the wives of
Brahmin cowherds of the region, known as Braj. Lila means play: not merely
literally, but also God's playful interaction with humans and other
earthly beings. The other forms of raslila such as Krishnattam and Ankiya
Nat are not as widely popular as the 'raslila' of Vrindavan. This form is
believed to have developed in the sixteenth century due to the influence
of the bhakti wave.
Khyal
Khyal, a folk art form popular in Rajasthan as well. While the origin of
Khyal remain uncertain, it is a establidhed fact that Agra was an
important center. There are different styles, each known by the name of
the city, the acting style, the community or the author. For example:
Jaipuri Khyal, the Abhinaya Khyal, Gadhaspa Khyal, and Alibaksh Khyal.
Subtleties demarcate these variations.
The
festive atmosphere in no way undercuts the religious undertones of an
event. Performances begin with hymns to the deities. The plays are
mythological, historical, or creative in content, and are marked by
romance, brave deeds, and sentiment. Equally festive music is ensured by
the nakkara or the dholak drum, cymbals, and the harmonium.
The clown is as always an integral part of a show, of and the all-male
cast is directed - on stage, by the ustaad, the director producer, who
remains on stage with a prompt script.
Nautanki
It is a form of Svanga, and believed to be named after a popular play
Shahzadi Nautanki (The Story of Princess Nautanki). The plays may be based
on historical, mythological or folk stories, and are either narrated or
enacted in the grandiose epic style. The songs are increasingly
film-based, although folk music has not been abandoned.
The stage manager (ranga) is part of the company of ten or twelve actors.
Performances can be staged anywhere, and are generally moralistic in tone.
Comic and dialogue sequences are interspersed for the purpose of changing
momentum.
The two major styles of Nautanki are Hathras and Kanpur.
Hathras is the older version and was encouraged by Indarman and Natharam,
his disciple. In the nineteenth century, they organized akharas (training
centers), where the khalifa (leader) reigned supreme. His word was law.
The singing style was high on pitch and style. The rebellion against the
control of the khalifa led to the Kanpur variation, created by Sri Krishna
Pahalvan that has remained simple in song but elaborate in stage scenery.
Naqal
Naqal is a farce with a leader known as the Khalifa. The clown determines
the action and pace through his witticism and antics. What makes this play
interesting is the fact that the all-male cast satirizes the audience as
well. 'Naqal' is also known as 'Naqqal' and 'Nakkal' and is highly popular
in Punjab and
Kashmir .
Svanga
Also called Sangeet, has its origins in the late eighteenth century. This
folk form, prevalent in
Haryana and
Punjab as well, is sourced in the ballads and semi-historical stories.
Festivals and family occasions are reasons for a performance. An all-male
cast will stage a play in the village open or in a patron's house. The
simple costumes are contrasted with fancy head dresses, and lots of false
hair. Dialogues dominate the show, with songs occupying a secondary
position.
Ramlila
The Story of Rama is a generic term, including all performances
pertaining to the life of the epic hero Rama, believed to be one of the
incarnations of Lord Vishnu (the Preserver).
The stories deal with his exile from his kingdom at Ayodhya;
his subsequent victory over Ravan (the demon-king); the interaction
between Rama and Sita (his wife, who accompanied him in his exile), and
his brothers Lakshmana, Shatrughan and Bharat.
Traditionally Brahmin boys who are trained by the 'liladhari' (the leader
of the troupe) play the characters of Rama, Sita, Lakshmana, Shatrughan
and Bharat.
Charkula
This is a traditional folk dance of Braj, where a female dancer balances
a column of lighted lamps, 'deepikas' over her head, while dancing. The
'charkula', a tapered wooden column with four to five circular tiers has
earthern lamps on each level. The number of lamps can range from 51 to 108
at times. The dancer, with her face vieled moves with swift graceful
movements while balancing the 40 to 50 kg 'charkula' on her head. This
visually attractive, dramatic dance is performed on the dooj of
Holi, to the accompaniment of
'rasiya' songs rendered by the menfolk.
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