Indian Dance: its Association with Indian Folklore and Mythology

Indian dance is an extremely intricate art requiring skill, hard work and discipline. Every dance posture has a specific meaning. All Indian dances portray some expression of life. Themes used in Indian dance are from Indian folklore and mythology. Most of the dances portray an Indian god coupled with an Indian goddess such as ‘Vishnu and Lakshmi’, ‘Rama and Sita’, ‘Krishna and Radha’.

Indian dance originated from ‘Natya Shastra’, which is a detailed script written on all aspects of Indian dance. The author of ‘Natya Shastra’ was Bharata Muni who wrote this some time in the 2nd century B.C.

The ‘Natya Shastra’ describes the clothing, ornaments, the stage setting and, mainly, the various gestures and techniques for all types of Indian dance. Indian dance consists of rhythm, expression and drama. The gestures with the hands for all types of Indian dances are the same. There are mainly nine types of emotions portrayed in Indian dance – happiness, anger, disgust, fear, sorrow, courage, compassion, wonder and serenity.

The most significant symbol of dance in India is the ‘Natraj’. This is a dance of the god Shiva in a posture signifying various aspects of human life. ‘Shiva's dance signifies creation, preservation, and destruction. ‘Shiva’ is a male god with blue skin, long hair tied up on the top of his head, and a strong body and two pairs of arms.

In the ‘Natraj’ poise, Shiva holds a small drum in his upper right hand and a tongue of flames in his upper left hand. The drum and the fire signify the opposing forces of creation and destruction.

Shiva is balancing on one foot with the other leg raised from the knee. His body, surrounded by flames, portrays his intense energy. ‘Shiva’s’ dance is the dance of life.

Indian dancers paint their faces. They apply black eye pencil around their eyes to make them look bigger and more expressive, dark red lipstick and rouge. They wear large ornaments such as earrings, necklaces, armlets, anklets, rings and an Indian jewel, which is used to ornate the head. Dancers wear bright-colored ‘saris’.

All Indian dances use traditional ‘Hindustani’ classical music with instruments such as the flute, ‘tabla’, ‘sitar’, harmonium and ‘tanpura’.

Bright color, beauty and tradition come to mind when one thinks of Indian dance.

(www.allsands.com/Travel/indianfolkdanc_afg_gn.htm)

African Dance (Morocco)

Dances are common, particularly in the countryside, at ceremonies such as harvest festivals, marriage festivities, and religious celebrations. Traditional dances, Berber in origin, have survived in various local and regional forms on the various Arab- and Berber speaking areas. Most public performances are accompanied by music and attended by most of the community.

Moroccan Dance has movements representing activities such as carpet weaving, sowing seeds and flattening the soil. Many steps from Raqs Sharqi are now danced by Moroccans. The Schikhatt was originally danced at pre-wedding parties and is now a leisure activity for Moroccan women. The Guedra is a trance ritual dance performed by a woman on her knees. She uses intricate movements of her hands to give blessings. She begins the dance on her feet, then drops to her knees when the rhythm changes. The dance can go on for hours.

Moroccan folklore expresses everyday life. It is being continually enriched by popular imagination, under the influence of new events on the national, tribal or individual levels.

Moroccan folklore is extremely diverse. It varies not only from one area to another but each tribe has its own repertory, the extent and wealth of which will surprise you. Besides the exotic, picturesque, colorful or romantic aspects of the setting, folk dancers form an ensemble of traditions, and a world of symbols which are not clear today.

THE AWASH

The dance comes from the High Atlas valleys. A circle of women in multicolored robes stands motionless. In the center, men sit around a fire. A cry breaks the silence. It is a shout more than a song. All the drums beat. The song of the men begins, mounting skyward. The women reply. Shoulder to shoulder, they sway rhythmically and slowly. The rhythm gets faster and faster until the finale.

THE OUAIS

Set to very ancient music, in which is easy to hear Middle Eastern accents, this dance is like a ballet.

The orchestra comprises a one-stringed fiddle and a certain number of small mandolins with three strings. The rhythm is provided by a beater. The dancers add to the music with small cymbals attached to their fingers. All the dancers wear city dress: a colored "kaftan" and an embroidered silk belt. The dance is graceful and comprises several steps.

THE TISSINT

South of Agadir, men and women, dressed in blue, perform a dance which resembles a religious rite.

Perhaps it is an ancient rite. The dagger dance is clearly symbolic. It is part of marriage ceremonies. Men and women dance to a rhythm that becomes more rapid. A young girl and boy leave the circle to do a duet. The boy holds a dagger at arm's length at the end of a cord. He spins about, making circles around the girl, withdraws and comes nearer, until they are face to face. Advancing towards each other with short steps, the boy raises his arms to place the dagger around the young girl's neck as she continues to dance. Slowly the boy falls to his knees in front of her. The song continues.

THE TASKIOUINE

It is a warrior's dance, and women do not take part. Wearing white tunics and turbans, the dancers keep time to the accompaniment of tambourines. They dance shoulder to shoulder. The body is shaken rhythmically and stopped suddenly with perfectly timed stamping of the feet. It is a frank, powerful and virile dance without any mannerism. Although athletic, it is nevertheless aesthetic.

OULMES AND KHENIFRA

This dance is performed in its traditional style by men and women dancers of the Oulmes and Khenifra areas. Most of the girls are very young and very pretty. The costume, strongly influenced by urban dress is in pale colors. The men and women form a large circle and rock to the rhythm of drums. They do simple steps, advance and withdraw. The gestures are full of dignity and modesty. Poems are recited.

THE HOUARA

These dancers come from Inezgane near Agadir. The troupe is composed of a group of men and one woman. The men begin the dance to a merry rhythm. One or two virtuosi leave the circle to perform solo dance. When the rhythm reaches its peak, the woman rushes to the center. There follows a whirling dance of great power. Great physical strength is required to keep up the rhythm and do such elaborate steps. The dance is without doubt one of the most spectacular in Moroccan folklore and arouses the enthusiasm of the audience.

THE AHIDOUS

In the Middle Atlas mountains dance singers and dancers form a large circle with the men and women standing alternately shoulder to shoulder. Sacred and secular influences are deeply linked in this ceremony. To the rhythm of tambourines, the men and women sing a joyful hymn.

THE GHIAYTAS

Warriors with rifles dance to the tune of pipes and drums. It is not clear whether they are dancing to work up courage to face the enemy, or whether they are celebrating a victory. Their rifles, like toys, are balanced on the head, spun at arms length, and they pretend to shoot with them at invisible enemies. Forming a circle and turning to the rhythm of a noisy orchestra, they aim their weapons at the ground, at a signal from their leader.

(www.sas.upenn.edu/African_Studies/Country_Specific/Morco_folkl.html)