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NCERT Class 11 Knowledge Traditions and Practices of India Chapter 3 Performing Art Traditions in India
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Performing Art Traditions in India
Chapter: 3
| EXERCISE |
1. Define performing arts. What is the role of music in performing arts?
Ans: Performance art is an artwork or art exhibition created through actions executed by the artist or other participants. It may be witnessed live or through documentation, spontaneously developed or written, and is traditionally presented to a public in a fine art context in an interdisciplinary mode.
The role of music in performing are mentioned below:
(i) Aesthetic Enhancement: Music adds an aesthetic layer to a performance, making it more engaging and dynamic. It enriches the overall sensory experience for the audience.
(ii) Cultural Significance: Music often carries cultural significance and can be used to highlight cultural contexts, traditions, and themes within a performance. It helps in expressing cultural identity and heritage.
(iii) Collaboration: In performing arts, music often involves collaboration among various artists, including composers, musicians, choreographers, and directors. This collaborative effort enhances the creativity and depth of the performance.
2. How many streams of Music are there in Vedic Era?
Ans: In the Vedic era, music was fundamentally intertwined with religious and social practices, primarily categorised into two main streams. The foremost stream is associated with the Sama Veda, one of the four Vedas, which is distinguished by its focus on musical hymns. The Sama Veda consists mainly of hymns intended to be sung, and these chants were performed with specific melodies and rhythms, playing a crucial role in various Vedic rituals and ceremonies. The second stream involves the Rig Veda, Yajur Veda, and Atharva Veda, which, while not specifically focused on music, contain hymns and mantras recited with particular intonations and rhythms that possess a musical quality. These recitations were integral to the ritualistic practices of the time, contributing to the overall musical landscape of the Vedic period. Hence, the primary streams of Vedic music are characterised by the explicitly musical chants of the Sama Veda and the rhythmically intoned recitations from the Rig Veda, Yajur Veda, and Atharva Veda.
3. Write short notes on:
(i) Nāṭyaśāshtra.
Ans: The Nāṭyaśāstra, attributed to the ancient sage Bharata Muni, is a seminal treatise on performing arts that comprehensively explores the theory and practice of Indian aesthetics, particularly focusing on drama, dance, and music. Written in Sanskrit, it is divided into 36 chapters and covers a wide range of topics, including the origin of drama, the elements of a dramatic performance (such as plot, character, emotion, and spectacle), stage design, costumes, gestures (mudras), vocal music (sangeet), instrumental music, and the psychology of aesthetics. The Nāṭyaśāstra not only serves as a guide for performers and artists but also delves into the spiritual and philosophical dimensions of art, emphasising its role in invoking rasa (aesthetic experience) in both the audience and the performers themselves. It remains a foundational text that continues to influence Indian classical performing arts, providing a comprehensive framework for understanding and practising theatre, dance, and music in the context of traditional Indian culture.
(ii) Bṛhaddeshi.
Ans: Bṛhaddēśi, attributed to Matanga Muni, is a significant treatise in Indian classical music that dates back to around the 9th or 10th century CE. Written in Sanskrit, it is considered one of the earliest comprehensive works on music theory in India. The Bṛhaddēśi covers various aspects of music, including ragas (melodic frameworks), talas (rhythmic cycles), musical instruments, vocal techniques, and aesthetics. It introduces the concept of Desi (regional) and Mārga (classical) music traditions, outlining their respective characteristics and influences. The treatise also discusses musical performance, improvisation (manodharma), and the role of emotions (rasas) in music. Bṛhaddēśi is valued not only for its theoretical insights but also for its historical significance in shaping the development of Indian classical music, serving as a foundational text that continues to inform and inspire musicians and scholars in the field.
(iii) Saṅgita Ratnākara.
Ans: The Sangeet Ratnakar literally “Sea of Music and Dance”, is one of the main Sanskrit musicological writings from India. Composed by Śārṅgadeva in the thirteenth century, the two Hindustani music and Carnatic music conventions of Indian old-style music view it as a complete book.
4. How many forms of Classical Music are there in India? Describe them.
Ans: There are 2 forms classical music are there in india are mentioned below:
(i) Hindustani Classical Music: This tradition primarily developed in North India. It is characterised by its improvisational nature and is influenced by Persian and Islamic musical traditions. Hindustani classical music is known for its ragas (melodic frameworks) and talas (rhythmic cycles). Some prominent instruments used in Hindustani classical music include the sitar, sarod, tabla, and santoor.
(ii) Carnatic Classical Music: Originating from South India, Carnatic music is more structured compared to Hindustani music. It places a strong emphasis on compositions and intricate rhythmic patterns. Carnatic music is also based on ragas and talas but has its own distinct repertoire and musical style. Popular instruments in Carnatic music include the veena, violin, mridangam, and ghatam.
5. Explain Śruti, Rāgas, Svara, Laya, Tāla, Mātrā, Mūrchana, Jāti and Grāma.
Ans: (i) Śruti: Śruti refers to the microtonal intervals or pitches used in Indian classical music. It is the smallest interval of pitch used in music, akin to Western music’s concept of semitones. There are 22 śrutis in an octave according to Indian classical music theory, which are used to create ragas.
(ii) Rāgas: Rāgas are melodic frameworks in Indian classical music. Each raga is based on a set of rules and conventions that define its ascending (Arohana) and descending (Avarohana) scale, specific ornamentations, and characteristic phrases. Rāgas evoke specific moods, times of day, and seasons.
(iii) Svara: Svara refers to the musical notes or pitches in Indian classical music. There are seven svaras: Sa, Re, Ga, Ma, Pa, Dha, Ni, which correspond roughly to the Western solfège: Do, Re, Mi, Fa, Sol, La, Ti.
(iv) Laya: Laya denotes the tempo or rhythm in music. It refers to the speed at which beats (matras) are counted. Laya is crucial in defining the pace and energy of a musical performance.
(v) Tāla: Tāla is the rhythmic cycle in Indian classical music. It is a recurring rhythmic pattern that defines the structure of a composition. Each tāla consists of a fixed number of beats (matras) grouped into sections.
(vi) Mātrā: Mātrā refers to the beat or the basic time unit in Indian classical music. It is a single count of the rhythmic cycle (tāla).
(vii) Mūrchana: Mūrchana refers to modulation or shifting of the tonic note (Sa) in a rāga. It involves altering the scale or the starting note while maintaining the rāga’s melodic structure.
(viii) Jāti: Jāti refers to rhythmic patterns or classifications in tālas based on the number of beats (matras) and their groupings. There are several jātis, each with distinct rhythmic characteristics.
(ix) Grāma: Grāma historically referred to a group or system of scales in ancient Indian music. It has evolved into a concept related to modal systems and the organisation of scales in Indian music theory.
6. How many types of instruments are there in music? Explain them.
Ans: There are 7 types of instruments are there in music are mentioned below:
(i) String Instruments: These produce sound through vibrating strings. Examples include guitars, violins, cellos, and harps.
(ii) Wind Instruments: Sound is generated by vibrating air within the instrument. Examples include flutes, clarinets, trumpets, and saxophones.
(iii) Percussion Instruments: These produce sound when struck, shaken, or scraped. Examples include drums, tambourines, xylophones, and cymbals.
(iv) Keyboard Instruments: Sound is produced by pressing keys that cause hammers to strike strings or other mechanisms. Examples include pianos, organs, and synthesisers.
(v) Electronic Instruments: These generate sound using electronic means, often synthesising or sampling sounds. Examples include synthesisers, electric guitars, and electronic drums.
(vi) Brass Instruments: These produce sound through vibrating lips into a metal mouthpiece. Examples include trumpets, trombones, and tubas.
(vii) Woodwind Instruments: Sound is produced by vibrating a reed (or the player’s lips) against a mouthpiece. Examples include clarinets, oboes, and bassoons.
7. Write short notes on Pandit Vishnu Narayan Bhatkhande and Pandit Vishnu Digambar Paluskar.
Ans: Pandit Vishnu Narayan Bhatkhande (1860-1936) was a prominent musicologist and scholar of Indian classical music. He is known for his pioneering work in systematising Hindustani classical music through his theory of ragas (melodic
frameworks) and tala (rhythmic cycles). Bhatkhande extensively researched and classified ragas, documenting them in his seminal works like “Hindustani Sangeet Paddhati” and “Kramik Pustak Malika.” His efforts led to the preservation and revival of traditional musical knowledge, establishing a structured pedagogy that continues to influence music education in India today.
Pandit Vishnu Digambar Paluskar (1872-1931) was a renowned vocalist and music educator who played a crucial role in popularising Hindustani classical music among the masses. He founded the Gandharva Mahavidyalaya in Lahore in 1901, later relocating it to Mumbai, which became a pioneering institution for music education. Paluskar emphasised the integration of classical music with social reform, promoting its accessibility across various strata of society. His contributions include developing a systematic curriculum for music education and training numerous students who went on to become influential musicians themselves, thus leaving a lasting impact on Indian music education and performance.
8. Attend any regional theatre performance in your area and make a detailed report on style, character, customs, make-up and props.
Ans: Attending a regional theatre performance in my area offered a rich cultural experience, highlighting distinctive elements of style, character portrayal, customs, make-up, and props. The performance style was rooted in traditional storytelling, blending vivid gestures and expressive vocal delivery to convey the narrative. Characters were characterised by colourful costumes reflecting their roles, from elaborate attire for royalty to simpler garments for common folk, enhancing the visual storytelling. Each character embodied distinct customs and mannerisms, providing insights into local traditions and societal norms.
Make-up played a crucial role in transforming actors into their roles, with vibrant colours and symbolic designs enhancing facial expressions and character identities. Props were meticulously chosen and utilised, ranging from practical items like household objects to symbolic elements such as ritual artefacts, enriching the narrative depth. Overall, the performance celebrated regional heritage through its artistic expression, offering a captivating glimpse into local culture through a blend of theatrical artistry and cultural authenticity.
9. Recreate any regional theatre performance with your classmates.
Ans: Do yourself.
10. What is the role of dance in Indian music? Explain.
Ans: The role of dance in indian music are mentioned below:
(i) Rhythmic Expression: Dance serves as a visual representation of the rhythmic patterns (talas) in Indian music. Dancers synchronise their movements with the beats and accents of the music, thereby enhancing the rhythmic complexity and dynamics of the performance.
(ii) Emotional and Narrative Communication: Indian dance often conveys stories, emotions, and themes through expressive gestures (mudras), facial expressions (abhinaya), and bodily movements. These elements interpret the lyrical content and mood of the music, intensifying the narrative impact.
(iii) Cultural and Spiritual Significance: Many classical Indian dance forms, such as Bharatanatyam, Kathak, Odissi, and Manipuri, are deeply rooted in religious and spiritual traditions. They often incorporated mythological tales, devotional themes, and ritualistic practices, fostering a connection between music, dance, and spiritual experience.
(iv) Aesthetic Harmony: Dance adds a visual dimension to musical performances, enhancing the overall aesthetic experience. Dancers often complement instrumental and vocal renditions, creating a holistic artistic presentation that engages both auditory and visual senses.
(v) Collaborative Artistry: In Indian classical music concerts (sangeet sabhas), dance performances (natya) frequently accompany musical renditions. This collaborative tradition, known as jugalbandi, showcases the synergy between musicians and dancers, each enhancing the other’s artistic expression.
(vi) Preservation of Cultural Heritage: Through its intricate movements, repertoire of gestures, and stylistic variations, Indian dance contributes to the preservation and propagation of cultural heritage. It serves as a repository of traditional knowledge, passed down through generations via oral tradition and rigorous training methodologies.
11. Write and explain the different forms of dances.
Ans: The Different forms of dances are:
(i) Kathak: A dance form with its roots in the northern part of India, it derives its name from the word Katha, or story. The journey from the rustic, wandering minstrel, to the storyteller of the temples of North India, through the courts of emperors and kings to the modern proscenium stage the journey of Kathak is long and diversified. Lucknow Gharana, Jaipur Gharana, Banaras Gharana and Raigarh Gharana are the main gharanas or styles of Kathak.
(ii) Bharatanāṭyam: This dance form originated in southern part of India in the state of Tamil Nadu. It started as a temple dance tradition called Dasiyattam (the dance of the maid-servants) 2000 years ago. The name Bharatanāṭyam is a simple derivation from the four most important aspects of dance (in Sanskrit). These are: Bha from Bhāva meaning emotion, Ra from Rāga meaning music or melody, Ta from Tāla meaning rhythm and Nāṭyam meaning dance. Odissi This dance form takes its name from the state of its origin, Odisha. It is approximately 60 years ago that Odissi took its present form as seen today.
(iii) Kathakali: This is a dance form of Kerala which dates to around the seventeenth century and has become the most recognised icon of Kerala. The word Kathakali literally means ‘story play’. Kathakali is known for its heavy, elaborate make-up and costumes. This dance form presents themes derived from the Hindu epics, mythologies and legends. Initially Kathakali was thought to be the sole domain of men but now women also perform the dance.
(iv) Mohiniattam: Mohiniattam, the female dance form of kerala with its origin in the temples of Kerala was shaped to its present form by the Travancore Maharaja Kartika Thirunal and Swati Thirunal around nineteenth century. The dance form which was lost, was revived in through the dedicated efforts of Vallathol in twentieth century. Lāsya (languid grace) and Śṛṇgāra (beauty and love) are the essence and the basic mood of Mohiniattam. In Mohiniyattam, it is compulsory to wear white costumes.
12. You studied Rouf in Kashmir, found out other folk music and dances in Jammu and Kashmir.
Ans: Rouf is a folk dance which is found in Kashmir region. One of the most known dances of Jammu and Kashmir, Rouf is pronounced as ‘ruf’ in villages and as ‘row’ in cities. It is a dance performed during the onset of spring season and has always been an integral part of Kashmiri people since time immemorial.
13. Have you seen Jātra, Kutiyattam or any such traditional folk play? Narrate any one in the class.
Ans: While I haven’t personally seen Jātra or Kutiyattam performances, I can narrate a brief overview of Kutiyattam, a traditional form of Sanskrit theatre from Kerala, India. Kutiyattam, recognized by UNESCO as a Masterpiece of the Oral and Intangible Heritage of Humanity, is one of the oldest living theatrical traditions in the world, performed for over a thousand years primarily in the temples of Kerala. The term “Kutiyattam ” translates to “acting together,” involving elaborate and highly stylized performances by actors who undergo rigorous training. The performances take place in traditional temple theatres called Koothambalam, illuminated by oil lamps, creating a mystical atmosphere. A typical Kutiyattam play is based on classical Sanskrit texts, dramatising episodes from epics like the Ramayana and the Mahabharata. The main characters, portrayed by highly trained actors, use exaggerated facial expressions, hand gestures, and body movements to convey the story, accompanied by the recitation of Sanskrit verses. The unique musical accompaniment features instruments like the Mizhavu, a large copper drum, cymbals, and the conch. One well-known Kutiyattam play is “Asokavanikankam,” an episode from the Ramayana, centering on Sita’s emotions and thoughts while she is held captive by Ravana. The narrative unfolds with Sita reminiscing about her life and her hope for rescue, with the actor enacting multiple characters to showcase the intense drama of the situation. Kutiyattam is not just a form of entertainment but a deeply spiritual practice, preserving ancient theatrical techniques and narratives, offering a glimpse into the rich cultural and religious heritage of Kerala.
14. Find out one folk dance and song from each State of India. Make a folder with pictures in digital or print form. What are your views and observations about the people of India? Share on NROER for enriching others.
Ans: Creating a comprehensive folder of folk dances and songs from each state of India is an enriching project that offers a deep dive into the country’s rich cultural tapestry. Each state in India has its unique traditions, dances, and music, reflecting its history, lifestyle, and social structure. For instance, Bihu from Assam is an energetic dance accompanied by folk songs celebrating the Assamese New Year, while Kathakali from Kerala is a classical dance-drama noted for its elaborate costumes and expressive gestures. In Rajasthan, the Ghoomar dance is performed by women in swirling robes, and it’s often accompanied by folk songs narrating tales of valour and love. By collecting pictures and information about these dances and songs, you can appreciate the diversity and richness of India’s cultural heritage. This project not only highlights the vibrant traditions but also fosters an understanding of the regional differences and commonalities within the country. Observing these performances, one can see the intricate connection between art, community, and everyday life in India.
