Chapter 11: Dance as Visual Storytelling

Dancing to instrumental music made me concentrate mainly on rhythm, tempo and movement. I could interpret the music freely and create my own emotions. While dancing to lyrical music, the words guided my expressions and helped me understand the theme. Instrumental music encouraged imagination, whereas lyrical music made storytelling more direct and specific.

Yes, I felt that I was communicating through my dance. I used body movements, hand gestures and facial expressions to convey joy, excitement and confidence. Slow movements expressed calmness, while quick steps and energetic gestures showed happiness. Even without speaking, my movements helped the audience understand the mood and emotions of the performance.

Singing and dancing simultaneously felt lively and engaging, but it required coordination, breath control and concentration. My voice helped me connect more closely with the meaning of the song. When dancing without singing, I could focus more easily on posture, expressions and movements. Singing made the performance more personal, while dancing alone allowed greater physical freedom.

I would use the following two elements:

i. Chārī/gati: Chārī refers to stylised leg movements, while gati is the manner of walking or moving. I can use slow, firm steps with an upright posture to portray a king or warrior. Small, quick and light steps can represent a child, bird or deer. Thus, different movements communicate a character’s age, mood and personality.

ii. Utplavana and bhramarī: Utplavana means jumps or leaps, while bhramarī refers to spins or circular movements. I can leap forward to show someone crossing a stream and then perform a controlled spin to express joy or a sudden change of direction. These movements add energy and variety to visual storytelling.

I explored lyrics, singing, narration and rhythmic syllables such as dha, ta, ka and dhin. Lyrics helped me understand the meaning and emotions of the dance. Singing made the performance more personal and connected my voice with my movements. Narration clarified the sequence of the story, while rhythmic syllables helped maintain timing, energy and coordination. Together, these elements created a meaningful soundscape and communicated my ideas clearly.

Three Indian traditions in which performers may sing and dance simultaneously are:

• Baul – West Bengal: Baul performers sing and narrate Bhakti songs while dancing, usually individually or in small groups.
• Lāvaṇī – Maharashtra: Performers combine fast-paced Marathi songs with expressive dance movements.
• Kummi – Tamil Nadu: Women dance in a circle while singing together and clapping rhythmically.

These forms demonstrate the close relationship between Vāchika and Āṅgika Abhinaya.

Āhārya Abhinaya includes costumes, make-up, jewellery, accessories and props.

In Lezim of Maharashtra, colourful regional costumes and the Lezim prop strengthen the energetic appearance of the dance. The metal cymbals attached to the prop also provide rhythmic accompaniment.

In Bhangra of Punjab, bright costumes, turbans and the wooden chikkā enhance the expansive body movements. The chikkā adds both visual and rhythmic complexity.

These elements connect with Visual Arts through colour combinations, patterns, textures, shapes, textile design, jewellery-making and prop construction. Their thoughtful arrangement creates balance, establishes regional identity and strengthens the visual composition of a performance.

Yes, an appropriate costume enhances the āṅgika of a dance form. A well-designed costume permits free movement and makes jumps, spins, gestures and body positions more visible. Flowing fabric may highlight circular movements, while bright colours draw attention to important actions. Costumes also identify the character, region and mood, making the performance clearer and more visually appealing.