Chapter 10: Components of Dance

When I tried the stance of the boatman, I felt balanced, energetic and alert. The bent legs and position of the arms created the feeling of rowing a boat. I think the dancer carried an expression of concentration, determination and physical effort behind the mask. The stance communicates these emotions through āṅgika abhinaya, even though the face remains hidden.

Yes, I enjoy the Kathak-based dance sequences in Devdas and Bhangra in Jab We Met. Kathak attracts me because of its rhythmic footwork, graceful spins and expressive gestures. Bhangra is energetic and joyful. Both forms preserve their Indian roots while using costumes, music and cinematic presentation to appeal to modern audiences.

ii. Vāchika is not essential for proper body alignment. Vāchika relates to spoken or sung words, music and rhythmic syllables, whereas sauṣhṭhava, rūpa and rekhā are connected with the dancer’s posture, disposition and body lines.

Nṛitta and Nṛitya

Nṛitta is non-narrative or pure dance consisting of rhythmic movements. It expresses joy without communicating any particular story or meaning. Nṛitya is narrative and expressive dance that communicates a story, idea or meaning. It combines the beauty of nṛitta with expressive communication called abhinaya.

i. Purulia Chhau costume – Āhārya Abhinaya

ii. Yakṣhagāna – Vāchika Abhinaya

iii. Expression in Mohiniyattam – Sāttvika Abhinaya

iv. Krishna in Sattriya dance – Āṅgika Abhinaya

i. Kathak – Pandit Birju Maharaj

ii. Sattriya – Jatin Goswami

iii. Purulia Chhau – Gambhir Singh Mura

iv. Pulikaḻi – Chathunni Asan

v. Kathakali – Kalamandalam Gopi

vi. Mohiniyattam – Kanak Rele

vii. Bharatanatyam – Saroja Vaidyanathan

viii. Odissi – Kelucharan Mohapatra

ix. Manipuri – Bipin Singh

Note: These are suitable examples. The chapter directly mentions most of these personalities. Pandit Birju Maharaj and Kalamandalam Gopi are recognised legends selected for Kathak and Kathakali respectively.

Sample Journal Entry

i. The performance watched

I watched a Bharatanatyam performance. The dancer maintained proper sauṣhṭhava and created clear body lines or rekhā. Rhythmic footwork and coordinated movements represented nṛitta, while hand gestures, facial expressions and storytelling represented nṛitya. The music, costume, jewellery and genuine emotional expressions brought together all four forms of abhinaya.

ii. The cinema dance sequence

I selected the Kathak-based dance sequence “Kahe Chhed Mohe” from Devdas. I chose it because it combines an Indian classical dance tradition with cinematic storytelling, elaborate settings and expressive music.

a. Understanding of dance elements

Both performances used coordinated body movements, gestures, rhythm, tempo and emotions. The Bharatanatyam recital appeared more traditional, while the cinema sequence adapted Kathak movements to suit the camera, story and large setting. Both contained pure rhythmic movements as well as expressive communication.

b. Reflection on my choice

I enjoyed the cinema sequence because its graceful movements, expressive storytelling and visual presentation made the emotions easy to understand. It also showed how a traditional dance form can be presented creatively in cinema without losing its Indian roots.

c. Analysis of the cinema dance sequence

The sequence uses rhythmic footwork, controlled spins, hand gestures and expressive eyes as āṅgika abhinaya. The sung lyrics and music provide vāchika abhinaya, while the flowing costumes, jewellery and decorated setting create āhārya abhinaya. The dancer’s emotions represent sāttvika abhinaya. Its steady tāla and changing laya make the performance graceful and engaging.