A sweeping look at the magnificene of Indian culture through its varied dance forms, Indian Classical Dance: Tradition in Transition is a tour de force study of the forms, characteristics, challenges and change in traditional dance. Briliant photographs taken by Avinash Pasricha, undoubtedly the master of Indian dance photography, make the book as vibrant as the dances it presents.
One Of The Seven Major Classical Dance Forms Of India, Kuchipudi In Its Solo Avatara Has Acquired A Status Of A Classical Dance Form Of Andhra Pradesh. The Story Of Kuchipudi From Its Origin As A Dance-Drama And Its Emergence As A Solo Dance Form Is One Of The Most Fascinating Phenomena Engaging Attention Of The Gurus, The Performing Dancers And The Research Scholars. Essentially A Preserve Of The Male Dancers, Who Also Excelled In The Female Roles, Today Kuchipudi Is Being Mainly Performed By The Female Dancers. However, The Tradition Continues To Survive In Kuchipudi Village, Some 30 Kilometres Away From Vijayawada In Andhra Pradesh. The Traditional Dance-Dramas Continue To Exist Along With More Popular Solo Dance Form. Kuchipudi Has Innumerable Votaries Not Only In India But Also Abroad And Their Number Is Ever Increasing. Padma Shri Dr. Sunil Kothari, Dance Historian, Scholar And Critic, Traces In This Volume The Origins Of The Dance-Drama Tradition, Correlating The Prayoga, The Practice And The Shastra, The Theory And How From The Natya, The Drama, Its Integral Elements Nritya, Expressional Dance And Nritta, The Pure Dance In The Hands Of Creative, Traditional Gurus Have Shaped Its Present Solo Format, Giving It Its Own Identity. Based On His Extensive Field Work Dr. Kothari Has Studied The Allied Forms Like Vithi Bhagavatam, Turpubani Vidhi Natakam, Pagati Vesham, Navajanardana Parijatam, Bhagavata Mela Nataka, Kuravanji Dance- Idrama And Offered An Overview Of The Dance Form As It Exists Today And Continues To Develop In Its Many Ramifications. He Has Also Dwelt Upon The All-Pervading Influence Of Vempati Chinna Satyam And His Contibution In Sh Dj'Ing Kuchipudi Into A Solo Form Along With The Dance-Dramas That He Has Choreographed. The Brief Biographies Of The Traditional Gurus And Some Of The Celebrated Exponents I Add Tp The Value Of This Volume, Presenting The Current State Of Kuchipudi On The Contemporary Dance Scene. Profusely Illustrated With 166 Colour And 221 Black And White Photographs By The Ace Photographer A Vinash Pasricha And Designed By The Eminent Artist And Designer Dashrath Patel, Kuchipudi Is A Major Significant Study Of The Classical D'Ance Form Of Andhra Pradesh.
This book is an exploration of the different facets of dance. Written by one of India s legendary dancers, the book provides ambrosial knowledge on the vast ocean of natya vidya. With brilliant photographs, this book reflects the sublime aesthetics of dance.
This book dwells on the enthralling aspects of music. Written by one of the most distinguished contemporary musicians, it explores the hidden treasures of Indian classical music.
One Of The Seven Major Classical Dance Forms Of India, Kuchipudi In Its Solo Avatara Has Acquired A Status Of A Classical Dance Form Of Andhra Pradesh. The Story Of Kuchipudi From Its Origin As A Dance-Drama And Its Emergence As A Solo Dance Form Is One Of The Most Fascinating Phenomena Engaging Attention Of The Gurus, The Performing Dancers And The Research Scholars. Essentially A Preserve Of The Male Dancers, Who Also Excelled In The Female Roles, Today Kuchipudi Is Being Mainly Performed By The Female Dancers. However, The Tradition Continues To Survive In Kuchipudi Village, Some 30 Kilometres Away From Vijayawada In Andhra Pradesh. The Traditional Dance-Dramas Continue To Exist Along With More Popular Solo Dance Form. Kuchipudi Has Innumerable Votaries Not Only In India But Also Abroad And Their Number Is Ever Increasing. Padma Shri Dr. Sunil Kothari, Dance Historian, Scholar And Critic, Traces In This Volume The Origins Of The Dance-Drama Tradition, Correlating The Prayoga, The Practice And The Shastra, The Theory And How From The Natya, The Drama, Its Integral Elements Nritya, Expressional Dance And Nritta, The Pure Dance In The Hands Of Creative, Traditional Gurus Have Shaped Its Present Solo Format, Giving It Its Own Identity. Based On His Extensive Field Work Dr. Kothari Has Studied The Allied Forms Like Vithi Bhagavatam, Turpubani Vidhi Natakam, Pagati Vesham, Navajanardana Parijatam, Bhagavata Mela Nataka, Kuravanji Dance- Idrama And Offered An Overview Of The Dance Form As It Exists Today And Continues To Develop In Its Many Ramifications. He Has Also Dwelt Upon The All-Pervading Influence Of Vempati Chinna Satyam And His Contibution In Sh Dj'Ing Kuchipudi Into A Solo Form Along With The Dance-Dramas That He Has Choreographed. The Brief Biographies Of The Traditional Gurus And Some Of The Celebrated Exponents I Add Tp The Value Of This Volume, Presenting The Current State Of Kuchipudi On The Contemporary Dance Scene. Profusely Illustrated With 166 Colour And 221 Black And White Photographs By The Ace Photographer A Vinash Pasricha And Designed By The Eminent Artist And Designer Dashrath Patel, Kuchipudi Is A Major Significant Study Of The Classical D'Ance Form Of Andhra Pradesh.
It was like a meteor that he passed across the Indian sky and cut in his wake the body of Hindustani classical music into two neat halves; one half before Kumar Gandharva and one half after him, a kind of a B.C. and an A.D. in Indian music. This book examines the magical opening up of a man from one tradition to the building of another. -------------------------------------------------------------------------------- Kumar sang out of the Bandish and not out of the Raga, a complete turnaround in the culture of Hindustani classical music. And of course the passion and intensity with which Kumar invested his performance. -------------------------------------------------------------------------------- It could be said without the slightest exaggeration that it was Kumar Gandharva who brought Bhakti Sangeet back into our music. Bhajan singing is not Bhakti singing, Kumar used to say. It is not the subject of God in the lyrics of the Bhajan that makes it into Bhakti Sangeet, but the man singing it. -------------------------------------------------------------------------------- This book has taken a lifetime to get written. Over the years, randomly the material for this book got collected. Not because any of us who knew Kumar and felt the epochal implications of the art that his life presented thought that it needed necessarily to be documented in a book; but that it needed to be understood for its own sake.
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