1.1 - Art and Culture Notes 11

Elaborate Notes

Kuchipudi

• Origin and History: This classical dance form originated in the village of Kuchipudi in the Krishna district of Andhra Pradesh. Its roots are traced back to the ancient text of Bharata Muni, the Natyashastra. The modern form was systematized in the 17th century by the Vaishnava saint and visionary, Siddhendra Yogi. He conceived the dance-drama (Bhamakalpam) to propagate the tenets of the Bhakti movement. Initially, it was performed exclusively by male Brahmins, known as Bhagavathalus, who would travel from village to village performing these dance-dramas.
• Performance Structure and Elements:
  • The performance traditionally begins with ritualistic preliminaries, including sprinkling holy water and burning incense.
  • Daru: This is the introductory piece for each character. Dancers enter the stage and introduce themselves and their role in the drama through a short composition of song and dance, setting the mood and context.
  • Bhamakalpam: The most celebrated dance-drama in the Kuchipudi repertoire, composed by Siddhendra Yogi. It narrates the story of Satyabhama, the proud and self-assured consort of Lord Krishna. The central theme explores the vipralambha shringara (love-in-separation) and Satyabhama’s journey from jealousy and pride to humility and devotion.
  • Manifestation of Earth: The dance movements are characterized by being rounded, fluid yet brisk, with quick footwork and a strong narrative element. The connection to the earth element is symbolized by the dancer’s firm yet light contact with the ground.
• Solo Performances and Repertoire: While traditionally a group dance-drama, Kuchipudi has evolved to include brilliant solo performances.
  • Manduk Shabdam: An intricate piece narrating the story of a frog, showcasing the dancer’s skill in storytelling (abhinaya).
  • Tarangam: This is a hallmark of the Kuchipudi style, requiring immense skill and balance. The dancer executes complex rhythmic patterns with their feet on the raised edges of a brass plate, often balancing a pitcher of water (kundi) on their head and holding lighted lamps (diyas) in their hands. This piece is usually set to the lyrics from the Krishna Leela Tarangini by Narayana Teertha.
  • Jalachitra Nrityam: A unique feature where the dancer draws pictures on the floor with their toes while dancing to a rhythmic pattern, demonstrating exceptional control and artistry.
• Music and Exponents: The music is classical Carnatic. The orchestra typically includes a mridangam, violin, flute, and cymbals.
  • Renowned exponents like Vempati Chinna Satyam (20th century) played a crucial role in refining the dance form and popularizing its solo version. Other prominent artists include Yamini Krishnamurthy, Raja and Radha Reddy, and P. B. Acharyulu, who have contributed significantly to its global recognition.

Kathakali

• Origin and Evolution: Kathakali, meaning ‘story-play’, is a highly stylized classical dance-drama from Kerala. It evolved from earlier temple art forms like Ramanattam and Krishnanattam, which were based on the epics of Ramayana and Mahabharata respectively, and the ancient Sanskrit theatre tradition of Koodiyattam. Its present form crystallized around the 17th century.
• Patronage and Revival: It flourished under the patronage of the feudal chieftains and kings of Travancore and Cochin. By the early 20th century, this patronage declined, and the art form faced extinction. It was revived through the monumental efforts of the celebrated Malayalam poet Vallathol Narayana Menon (V.N. Menon), who established the Kerala Kalamandalam in 1930, a premier institution for training in Kathakali and other traditional arts of Kerala.
• Themes and Narrative: The performance is a grand depiction of the eternal conflict between good (dharma) and evil (adharma), with themes drawn from the Puranas and the great Indian epics. It is often referred to as the “Ballad of the East” for its epic narrative style. The conclusion almost invariably shows the triumph of good.
• Performance Elements and Makeup:
  • Abhinaya: Kathakali is renowned for its emphasis on abhinaya (expression), particularly through intricate facial and eye movements (netrabhinaya) and elaborate hand gestures (mudras). The nine primary facial expressions (navarasas) are mastered by the artists.
  • Elaborate Makeup (Aharya Abhinaya): The makeup is not merely decorative but a symbolic code. It is so elaborate that it is considered a form of painting, taking hours to apply. The colours signify the character’s nature (guna):
    • Pacha (Green): Divine, noble, heroic characters (e.g., Arjuna, Nala).
    • Kathi (Knife): Characters with a mix of royalty and evil (e.g., Ravana). A green base with red markings.
    • Thadi (Beard): Vella Thadi (White beard) for divine beings like Hanuman; Chuvanna Thadi (Red beard) for wicked characters; Karutha Thadi (Black beard) for forest dwellers or hunters.
    • Kari (Black): Used for demonic women (rakshasis) and evil characters.
    • Minukku (Yellow/Orange): Gentle and virtuous characters, such as women and sages.
  • Music: The accompanying music is based on the traditional Sopana Sangeetham of Kerala, which is a slow, melodic style. The orchestra, known as melam, includes instruments like the Chenda (cylindrical drum), Maddalam (barrel-shaped drum), Chengila (gong), and Ilathalam (cymbals).
• Exponents and Modern Trends: Guru Kunchu Kurup and Guru Gopinath are legendary figures. Traditionally, all roles were performed by men, but in recent times, women have started training and performing Kathakali. The dance symbolizes the element of sky or ether.

Mohiniattam

• Origin and Mythology: The name Mohiniattam translates to the ‘dance of the enchantress’. Its mythological origin is linked to the legend of the Samudra Manthan (Churning of the Ocean). When the amrita (nectar of immortality) emerged, the Asuras (demons) seized it. Lord Vishnu took the form of a celestial enchantress, Mohini, to beguile the Asuras and retrieve the nectar for the Devas (gods).
• History and Revival: This graceful dance form has historical roots in the temple dances of Kerala. It was patronized and codified during the reign of Maharaja Swathi Thirunal of Travancore in the 19th century. Like Kathakali, it faced a period of decline and was revived in the 20th century by Vallathol Narayana Menon through the Kerala Kalamandalam.
• Performance and Style:
  • It is a solo dance performed exclusively by women. The style is marked by lasya (graceful, gentle movements) as opposed to the vigorous tandava style.
  • The movements are characterized by swaying, circular motions, and a fluid torso. The footwork is soft and not heavily rhythmic. The movements are often described as emulating the gentle swaying of palm trees and the rolling waves of the sea.
  • It combines the grace and elegance of Bharatanatyam with the dynamism and vigour of Kathakali.
• Costume and Music:
  • The costume is a distinctive off-white or cream-coloured Kasavu saree with a bright golden brocade border. The hair is tied in a bun (kuduma) on the side of the head and adorned with jasmine flowers.
  • The music is classical Carnatic, with lyrics in a mix of Sanskrit and Malayalam known as Manipravalam.
• Exponents: Notable performers who have enriched this art form include Kalamandalam Kalyanikutty Amma, who is often referred to as the ‘mother of Mohiniattam’ for her systematic restructuring of the form, Sunanda Nair, and Jayaprabha Menon.

Odissi

• Origin and Historical Evidence: Odissi is one of the oldest surviving classical dance forms, with archaeological evidence dating back to the 2nd century BCE. Its name is derived from the Odra-Nritya mentioned in Bharata Muni’s Natyashastra. The Udayagiri caves in Odisha, particularly the Hathigumpha inscription of King Kharavela (1st-2nd century BCE), provide the earliest evidence of this dance form. Temple sculptures at the Brahmeswara, Konark Sun Temple, and Jagannath Temple in Puri also depict Odissi dancers and musicians.
• Traditions:
  • Mahari: This was the tradition of temple dancers (devadasis of Odisha) who performed exclusively in the Jagannath temple. With the decline of the temple system, this tradition became defunct.
  • Gotipua: A tradition that emerged in the later centuries where young boys dressed as girls would perform the dance in public spaces and temples. Many modern-day male Odissi gurus began their training as Gotipuas.
  • Nartala: A secular tradition of Odissi performed in royal courts.
• Stylistic Features:
  • Tribhanga: The most characteristic posture of Odissi. It is a three-bend posture of the body at the neck, torso, and knees, creating a graceful, lyrical ‘S’ curve. It is considered a feminine posture and is depicted extensively in temple sculptures.
  • Chowk: A masculine posture symbolizing Lord Jagannath, where the dancer imitates a square-like shape with the body.
  • Mobile Sculpture: Odissi is often described as “sculpture in motion,” as the dancer strikes various sculptural poses, creating a visual spectacle. It represents the element of water, reflected in its fluid and graceful torso movements.
• Performance Repertoire: The performance follows a specific sequence:
  1. Mangalacharan: An invocatory piece.
  2. Batu Nritya: A pure dance (nritta) piece offered to Lord Batukeshwar Bhairav (a form of Shiva).
  3. Pallavi: An elaborate pure dance piece where the music and dance gradually build up in complexity and speed.
  4. Abhinaya: The expressive part of the dance, often interpreting Oriya songs or Sanskrit ashtapadis like Jayadeva’s Gita Govinda.
  5. Moksha: The concluding piece, a joyous and fast-paced dance symbolizing liberation.
• Exponents: The revival of Odissi in the mid-20th century was led by gurus like Kelucharan Mohapatra, Pankaj Charan Das, and Deba Prasad Das. Renowned dancers include Sanjukta Panigrahi, Sonal Mansingh, and international artists like Sharon Lowen.

Manipuri

• Mythological Origin and History: Manipuri dance, originating from the state of Manipur, has its roots in celestial and folk traditions. Legend states that Lord Shiva and Goddess Parvati danced in the valleys of Manipur, which were lit by the mani (jewel) from the serpent god. The dance is deeply connected to the pre-Hindu folk tradition of Lai Haraoba, a festival re-enacting the creation of the cosmos.
• Vaishnavism and Themes: The modern form of Manipuri dance was heavily influenced by the advent of Vaishnavism in the 18th century during the reign of King Bhagyachandra. He introduced the Ras Leela dance-dramas based on the life of Radha and Krishna. The Sankirtana tradition, a form of ritual singing, drumming, and dancing, is also integral to Manipuri arts and was inscribed on UNESCO’s Representative List of the Intangible Cultural Heritage of Humanity in 2013.
• Performance Style:
  • The style is characterized by its soft, lyrical, and graceful movements. The feet never strike the ground hard.
  • There is a strong emphasis on hand and upper body gestures. Facial expressions are subtle and serene. Instead of focusing on individual parts, the performance emphasizes the movement of the whole body, a concept known as Sarvangabhinaya.
  • The Ras Leela performances are group dances, while Thang-Ta (the martial art of Manipur) and Pung Cholom (drum dance) showcase the vigorous (tandava) aspect.
• Costume and Music:
  • The female costume is unique and elaborate, with a stiff, long skirt called a Potloi and a translucent veil.
  • The music is devotional, and the main instruments are the Pung (a barrel drum), cymbals (Kartals), and the Pena (a string instrument). Dancers themselves often sing during the performance.
• Revival and Exponents: Rabindranath Tagore played a vital role in its revival by introducing it at Visva-Bharati University in Shantiniketan. The Jhaveri sisters (Nayana, Ranjana, Suverna, and Darshana) and Guru Bipin Singh are among the most celebrated proponents of this art form.

Sattriya

• Origin: Sattriya owes its origin to the great 15th-century Vaishnava saint and reformer of Assam, Srimanta Sankardeva. He created this dance form as a medium for propagating the Vaishnava faith. It was nurtured within the Sattras (Vaishnavite monasteries) of Assam. For centuries, it was practiced and preserved as a part of religious rituals by male monks (Bhokots). It was granted the status of a classical dance in the year 2000 by the Sangeet Natak Akademi.
• Themes and Music: The themes are based on mythological stories, particularly the life of Krishna. The compositions of Sankardeva, known as Borgeets, form the lyrical basis. The accompanying music is also called Borgeet, played on instruments like the Khol (a two-sided drum) and flute.
• Performance and Costume:
  • Sattriya dance is performed by both men and women. The style is known for its combination of graceful hand gestures and strong, rhythmic footwork.
  • The costumes are made of Assam’s indigenous Pat silk. Males wear a dhoti and paguri (turban), while females wear a ghuri and chador.
• Exponents: Jatin Goswami and Sharodi Saikia are among the leading exponents of Sattriya today.

Kathak

• Origin and Etymology: The name Kathak is derived from the Sanskrit word katha meaning ‘story’, and kathakar meaning ‘one who tells a story’. It originated with the nomadic bards of ancient northern India, known as Kathakars or storytellers, who would recite tales from the epics with accompanying gestures and music in temples.
• Evolution under Mughal Patronage: During the Mughal era, Kathak moved from the temple to the royal court. This transition brought significant changes. It absorbed Persian and Central Asian influences, shifting its focus from purely devotional themes to include elements of courtly entertainment. This led to a greater emphasis on rhythmic virtuosity and spectacular footwork.
• Performance and Stylistic Features:
  • Footwork and Rhythm: Unlike many other classical forms which use bent-knee positions, Kathak is characterized by an erect posture and the use of the full sole of the foot on the floor (full foot contact). The intricate and powerful footwork (tatkar), accompanied by the sound of over 100 ankle bells (ghungroos), is a hallmark of this style.
  • Spins (Chakkars): Fast, rhythmic pirouettes are a distinguishing feature.
  • Recital Elements: The performance includes nritta (pure dance) and nritya (expressive dance). Key elements are:
    • Jugalbandi: A competitive and playful duet between the dancer and a percussionist (usually the tabla player), showcasing rhythmic improvisation.
    • Gat-Bhaav: The dancer interprets a short story or episode through mime and gestures.
    • Toda and Tukda: Short, brilliant bursts of pure dance.
• The Gharana System: Kathak is unique for its well-defined Gharana system, which refers to distinct stylistic schools preserved through the guru-shishya parampara (teacher-disciple tradition).
  • Lucknow Gharana: Developed under the patronage of Nawab Wajid Ali Shah of Awadh. It is known for its grace, elegance, and emphasis on bhaav (expression).
  • Jaipur Gharana: Developed in the courts of Rajput kings. It is known for its powerful footwork, rhythmic complexity, and fast spins.
  • Banaras Gharana: Known for its use of the floor and a greater emphasis on symmetry and lyrical quality.
  • Raigarh Gharana: A relatively newer gharana that combines elements from the other three.
• Costume and Music: The Persian influence is visible in the female costume, which can be an Anarkali-style dress or a lehenga-choli. The male costume is often a silk kurta with a dhoti. The music evolved from the ancient Dhrupad style to include the more romantic Thumri and Ghazal during the Mughal period.
• Exponents: The art form has been graced by legends like Pandit Birju Maharaj (Lucknow gharana), Pandit Lachhu Maharaj, Sitara Devi, and Damayanti Joshi.

Prelims Pointers

• Kuchipudi:

  • State of Origin: Andhra Pradesh.
  • Founder: Siddhendra Yogi.
  • Key Composition: Bhamakalpam (story of Satyabhama).
  • Unique Features: Tarangam (dance on a brass plate), Jalachitra Nrityam (drawing with feet).
  • Introductory piece: Daru.
  • Music: Carnatic.
  • Represents Element: Earth.

• Kathakali:

  • State of Origin: Kerala.
  • Meaning: Katha (story) + Kali (play).
  • Themes: Ramayana, Mahabharata, Puranas.
  • Unique Features: Elaborate makeup (Vesham), detailed eye movements (netrabhinaya).
  • Makeup Codes: Pacha (Green - noble), Kathi (Green with red - royal evil), Thadi (Beard - various types), Kari (Black - demonic), Minukku (Yellow - gentle).
  • Revivalist: Vallathol Narayana Menon (founded Kerala Kalamandalam).
  • Music: Sopana Sangeetham.
  • Instruments: Chenda, Maddalam.
  • Represents Element: Sky/Ether.

• Mohiniattam:

  • State of Origin: Kerala.
  • Meaning: Dance of the Enchantress (Mohini).
  • Mythological Origin: Samudra Manthan (Churning of the Ocean).
  • Performance: Solo, exclusively by women.
  • Style: Lasya dominant (graceful).
  • Costume: Off-white Kasavu saree with golden border.
  • Patronage: Maharaja Swathi Thirunal of Travancore.

• Odissi:

  • State of Origin: Odisha.
  • Ancient Name: Odra-Nritya in Natyashastra.
  • Historical Evidence: Hathigumpha inscription of King Kharavela.
  • Key Postures: Tribhanga (three-bend), Chowk (square-like).
  • Traditional Dancers: Maharis (temple dancers), Gotipuas (young boys).
  • Represents Element: Water.
  • Literary Source for Abhinaya: Jayadeva’s Gita Govinda.

• Manipuri:

  • State of Origin: Manipur.
  • Folk Roots: Lai Haraoba festival.
  • Themes: Ras Leela of Radha-Krishna.
  • Unique Features: Gentle, fluid movements; no heavy foot stamping; Sarvangabhinaya (whole body expression).
  • Costume: Potloi (stiff barrel-shaped skirt), Kumil.
  • Instruments: Pung (drum), Pena.
  • Revivalist: Rabindranath Tagore.

• Sattriya:

  • State of Origin: Assam.
  • Founder: Srimanta Sankardeva (15th century Vaishnava saint).
  • Origin Place: Sattras (Vaishnava monasteries).
  • Classical Status: Granted in 2000 by Sangeet Natak Akademi.
  • Male dancers/monks: Bhokots.
  • Musical compositions: Borgeets.
  • Instrument: Khol (drum).
  • Costume Fabric: Pat Silk.

• Kathak:

  • Region of Origin: Northern India (Braj, Awadh).
  • Meaning: From Katha (story).
  • Unique Features: Erect posture, full foot contact, fast spins (chakkars), rhythmic footwork (tatkar).
  • Influence: Persian and Mughal culture.
  • Gharanas: Lucknow (grace), Jaipur (rhythm), Banaras (symmetry).
  • Patronage: Nawab Wajid Ali Shah (Lucknow Gharana).
  • Music: From Dhrupad to Thumri and Ghazal.

Mains Insights

1. Evolution through Patronage:

   • Cause-Effect: The nature of patronage directly shaped the evolution of dance forms. Temple patronage (e.g., Odissi in Jagannath temple, early Kathak) centered the themes on devotion and ritual. Royal court patronage (e.g., Kathak under Mughals and Nawabs, Mohiniattam under Travancore kings) introduced elements of entertainment, secular themes, and a focus on technical brilliance and shringara (romantic love).
   • Decline and Revival: The decline of feudal and temple patronage in the 19th and early 20th centuries led to the near extinction of many forms. The nationalist movement and cultural renaissance of the 20th century spurred revivalist efforts (e.g., Vallathol Menon for Kathakali/Mohiniattam, Rabindranath Tagore for Manipuri), transforming them from localized traditions into national symbols of Indian heritage.

2. From Temple to Proscenium Stage:

   • The transition from a ritualistic temple or court setting to the modern proscenium stage has fundamentally altered the performance context.
   • Impact: Performances have been shortened and standardized. The intimate connection between the performer and a knowledgeable, often participatory, audience has been replaced by a more formal, spectator-oriented presentation. This has led to an increased focus on technical virtuosity and aesthetic appeal to cater to a global, diverse audience.
   • Debate: Scholars debate whether this transition has diluted the spiritual essence of the dances. While it has given them global visibility and professional standing, it also risks commercialization and a disconnect from their original socio-religious roots.

3. Synthesis and Influence:

   • Indian classical dances are not static; they have evolved through continuous interaction. Mohiniattam synthesizes the grace of Bharatanatyam with the vigour of Kathakali.
   • The most prominent example of external influence is on Kathak. The Mughal court’s impact is visible in its costumes (Angrakha), music (Ghazal), and the introduction of abstract, speedy rhythmic patterns over purely narrative elements. This demonstrates the syncretic nature of Indian culture.

4. Role of Women and Changing Gender Dynamics:

   • Many dance forms have complex histories regarding female performers. The Maharis (Odissi) and Devadasis were temple dancers who were both revered and later, during the colonial period, stigmatized.
   • The revival movements of the 20th century saw women from respectable families (like Rukmini Devi Arundale in Bharatanatyam) take up dance, giving it a new social legitimacy.
   • Forms that were once exclusively male preserves (like Kuchipudi and Kathakali) now have renowned female exponents. Conversely, women are also breaking into the Gotipua tradition, historically performed by boys. This reflects broader changes in societal gender roles.

5. Dance as a Reflection of Regional Ethos:

   • Each dance form is a mirror to its region’s geography, culture, and religious beliefs.
   • Examples: The fluid, wave-like movements of Mohiniattam and Odissi evoke the coastal landscapes of Kerala and Odisha. Manipuri’s gentle, restrained style reflects the serene, devotional culture of the region. Sattriya is intrinsically linked to the Vaishnava monastic culture of Assam’s riverine plains.

Previous Year Questions

Prelims

1. With reference to the cultural history of India, consider the following statements: (2020)

   1. Most of the Tyagaraja Kritis are devotional songs in praise of Lord Krishna.
   2. Tyagaraja created several new ragas.
   3. Annamacharya and Tyagaraja are contemporaries.
   4. Annamacharya kirtanas are devotional songs in praise of Lord Venkateshwara.

   Which of the statements given above are correct? (a) 1 and 3 only (b) 2 and 4 only (c) 1, 2 and 3 (d) 2, 3 and 4

   Answer: (b) 2 and 4 only Explanation: While not directly about dance, this question tests knowledge of Carnatic music, which is integral to Kuchipudi, Mohiniattam, etc. Tyagaraja’s kritis are mostly in praise of Lord Rama, not Krishna (Statement 1 is incorrect). Annamacharya (15th century) and Tyagaraja (18th century) were not contemporaries (Statement 3 is incorrect). Tyagaraja is credited with creating new ragas, and Annamacharya’s kirtanas praise Lord Venkateshwara.

2. Sattriya is a classical dance form of which state? (2014, but frequently asked in various forms) (a) Manipur (b) Uttar Pradesh (c) Assam (d) Andhra Pradesh

   Answer: (c) Assam Explanation: Sattriya originated in the Vaishnavite monasteries or Sattras of Assam and was introduced by the 15th-century saint Srimanta Sankardeva.

3. Consider the following pairs: (2014)

   1. Garba : Gujarat
   2. Mohiniattam : Odisha
   3. Yakshagana : Karnataka

   Which of the pairs given above is/are correctly matched? (a) 1 only (b) 2 and 3 only (c) 1 and 3 only (d) 1, 2 and 3

   Answer: (c) 1 and 3 only Explanation: Mohiniattam is a classical dance from Kerala, not Odisha. Odissi is the classical dance of Odisha. Garba (Gujarat) and Yakshagana (Karnataka) are correctly matched.

4. Which of the following is not a feature of Kathakali? (Based on general knowledge tested) (a) Elaborate facial makeup and headgear. (b) Represents the eternal conflict between good and evil. (c) Performed exclusively by women as a solo recital. (d) Movements of eyebrows, eyeballs and lower eyelids are important.

   Answer: (c) Performed exclusively by women as a solo recital. Explanation: Kathakali is a group dance-drama, and traditionally, all roles were performed by men. While women now perform, it is not an exclusive solo recital form for women; that description better fits Mohiniattam.

5. The ‘Tribhanga’ posture, a key feature of Indian classical dance, is most prominently associated with: (Based on general knowledge tested) (a) Kathak (b) Manipuri (c) Odissi (d) Kuchipudi

   Answer: (c) Odissi Explanation: The Tribhanga, or the three-bend posture of the body, is the most characteristic and fundamental posture of the Odissi dance form, often seen in temple sculptures of Odisha.

Mains

1. The Bhakti movement received a remarkable re-orientation with the advent of Sri Chaitanya Mahaprabhu. Discuss. (GS-I, 2018) Answer Framework: While this question is on the Bhakti movement, a strong answer can link it to performing arts. You can discuss how Chaitanya Mahaprabhu’s emphasis on Sankirtana (congregational chanting and dancing) directly influenced the devotional arts in Eastern India, providing a deeper context for the development and themes of forms like Manipuri Ras Leela and the Gaudiya Vaishnavism elements in Odissi.

2. Safeguarding the Indian art heritage is the need of the moment. Discuss. (GS-I, 2018) Answer Framework: Introduction on the richness and diversity of Indian art heritage (mentioning classical dances). Body paragraph on the challenges: declining patronage, impact of globalization, lack of awareness, commercialization diluting authenticity. Body paragraph on measures for safeguarding: role of government institutions (Sangeet Natak Akademi, ZCCs), role of Gurus and Gharanas, use of technology for preservation and dissemination, need for integrating arts into education. Conclude by emphasizing that heritage is a living tradition that needs both preservation and sensitive adaptation.

3. Indian philosophy and tradition played a significant role in concealing and shaping the monuments and their art in the Indian subcontinent. Discuss. (GS-I, 2020) Answer Framework: This question can be extended to performing arts. Explain how philosophical concepts (like dharma, moksha, the navarasas from the Natyashastra) and traditions (like Bhakti, Tantra) are the thematic and spiritual bedrock of classical dances. For example, discuss how Kathakali depicts the Puranic struggle of dharma vs. adharma, how Odissi’s Moksha represents the philosophical goal of liberation, and how Manipuri Ras Leela is a physical manifestation of Bhakti philosophy.

4. Many voices had strengthened and enriched the nationalist movement during the Gandhian phase. Elaborate. (GS-I, 2019) Answer Framework: In this question about the nationalist movement, one can add a dimension of cultural nationalism. Discuss how the revival of classical dance forms by figures like Vallathol Narayana Menon (Kathakali) and Rabindranath Tagore (Manipuri) was a powerful statement against colonial cultural hegemony. These revivals were not just artistic but were acts of reclaiming and asserting a unique Indian identity, thus strengthening the nationalist cause by fostering cultural pride.

5. What are the challenges to our cultural practices in the name of modernity? Discuss. (GS-I, 2023) Answer Framework: Introduction defining cultural practices (including classical dances) and modernity. Body paragraphs on challenges: 1) Commercialization and ‘fusion’ leading to dilution of classical purity and grammar. 2) Shortening attention spans (due to digital media) affecting appreciation for long, elaborate performances. 3) Decline of the Guru-Shishya parampara in favor of institutional, time-bound learning. 4) Modern interpretations sometimes clashing with traditional aesthetics and themes. Conclude by suggesting a balanced approach where modernity can be used for preservation (digital archives) and propagation without sacrificing the core essence of the art form.