1.8 - Dance
Transcript of 1.8 - Dance
![Page 1: 1.8 - Dance](https://reader030.fdocuments.net/reader030/viewer/2022021717/620c24fcf6368019960f25ea/html5/thumbnails/1.jpg)
Indian Dance MAHIPAL SINGH RATHORE
![Page 2: 1.8 - Dance](https://reader030.fdocuments.net/reader030/viewer/2022021717/620c24fcf6368019960f25ea/html5/thumbnails/2.jpg)
• Dance is a form of art, where the body is used as a medium of communication
• The dance heritage of India is at least 5000 years old.
• Dance is of divine origin – It was ritual form of worship in temples
• The wall paintings of Ajanta and Ellora, the sculptures of Khajuraho - evidence for popularity of Indian dances from ancient times
• Nataraja, the dancing Lord Shiva, is the supreme manifestation of Indian dance
![Page 3: 1.8 - Dance](https://reader030.fdocuments.net/reader030/viewer/2022021717/620c24fcf6368019960f25ea/html5/thumbnails/3.jpg)
• The first formal mention of dance is found in Bharata Muni‟s famous work Natya Shastra.
• As per Natya Shastra, there are two basic aspects of Indian classical dance.
1. Lasya – It denotes grace, bhava, rasa and abhinaya. It is symbolic to the feminine features of dance as an art form.
2. Tandava – This is symbolic to the male aspects of dance and has more emphasis on rhythm and movement.
![Page 4: 1.8 - Dance](https://reader030.fdocuments.net/reader030/viewer/2022021717/620c24fcf6368019960f25ea/html5/thumbnails/4.jpg)
There are 9 rasas or emotions that are expressed through the dance
Shringar – love
Hasya – Humor
Karuna – compassion
Raudra – Anger
Bhayankar – horror
Veer – heroic
Adbhut – Wonder
Vibhatsa – disgust
Shaant – calm
![Page 5: 1.8 - Dance](https://reader030.fdocuments.net/reader030/viewer/2022021717/620c24fcf6368019960f25ea/html5/thumbnails/5.jpg)
•These moods and expressions are emoted through the use of mudras – a combination of hand gestures and body postures.
108 fundamental mudras
![Page 6: 1.8 - Dance](https://reader030.fdocuments.net/reader030/viewer/2022021717/620c24fcf6368019960f25ea/html5/thumbnails/6.jpg)
• As per Abhinaya Darpan, Nandikeshwara‟s famous treatise on dance, an act has been broken into three basic elements:
1. Nritta –basic dance steps, performed rhythmically. No expression or mood conveyed.
2. Nritya – basic movement + gestures and poses using hands and fingers (hastamudras) and facial expressions (abhinaya). Refers to the sentiment and the emotions evoked through dance.
3. Natya - dramatic representations and refers to the story that is elaborated through the dance recital.
![Page 7: 1.8 - Dance](https://reader030.fdocuments.net/reader030/viewer/2022021717/620c24fcf6368019960f25ea/html5/thumbnails/7.jpg)
Indian Classical dance
8 classical dances
Governed by rules of natyashastra
Guru-shishya tradition
Recognized by Sangeet-natak akademi
![Page 8: 1.8 - Dance](https://reader030.fdocuments.net/reader030/viewer/2022021717/620c24fcf6368019960f25ea/html5/thumbnails/8.jpg)
8 classical dances of India
1. Bharatnatyam
2. Kuchipudi
3. Kathakali
4. Mohiniattam
5. Odissi
6. Manipuri
7. Kathak
8. Sattariya
![Page 9: 1.8 - Dance](https://reader030.fdocuments.net/reader030/viewer/2022021717/620c24fcf6368019960f25ea/html5/thumbnails/9.jpg)
Bharathanatyam
• Oldest among all classical dance forms, Bharatnatyam derives its name from Bharata Muni.
• The origins of this dance form can be traced back to „Sadir‟ – the solo dance performance of the temple dancers.
• The efforts of E. Krishna Iyer, a prominent freedom fighter, revived this dance form.
• Rukmini Devi Arundale gave the dance global recognition.
• Theme-religious and devotional
![Page 10: 1.8 - Dance](https://reader030.fdocuments.net/reader030/viewer/2022021717/620c24fcf6368019960f25ea/html5/thumbnails/10.jpg)
• In this dance form, equal emphasis is given on both the Tandava and Lasya aspects of dance, with major emphasis on „mudras‟.
• “Katak Mukh Hast” is a major Mudra in which the ॐ is displayed with the help of three fingers.
• Bharatnatyam is often referred to as the
„fire dance‟, as it is the manifestation of the
element of fire in the human body.
• Famous proponents: Yamini Krishnamurthy,
Lakshmi Viswanathan, Padma Subramaniam,
Mrinalini Sarabhai, Mallika Sarabhai, etc.
![Page 11: 1.8 - Dance](https://reader030.fdocuments.net/reader030/viewer/2022021717/620c24fcf6368019960f25ea/html5/thumbnails/11.jpg)
• Costume are made of silk saris with gold embroidery and has a lot of pleats
• Necklace, Bangles and head ornaments are used as jewelry
• Bells mounted on woven pads are worn on the feet
• Knees are bent
• Visualise her body like triangle
• A dancer plays many different roles
• Generally performance completed with chanting of shlokas
![Page 12: 1.8 - Dance](https://reader030.fdocuments.net/reader030/viewer/2022021717/620c24fcf6368019960f25ea/html5/thumbnails/12.jpg)
![Page 13: 1.8 - Dance](https://reader030.fdocuments.net/reader030/viewer/2022021717/620c24fcf6368019960f25ea/html5/thumbnails/13.jpg)
Kuchipudi
• Kuchipudi was originally performed by group of actors going from village to village, known as Kusselavas.
• Kuchipudi derives its name from the Andhra village of Kusselavapuri or Kuchelapuram.
• In 17th century, Siddhendra Yogi formalized and systematized the tradition.
• With the advent of Vaishnavism, the dance form became a monopoly of the male Brahmins.
• Stories of Bhagavat purana became a central theme of the recitals.
![Page 14: 1.8 - Dance](https://reader030.fdocuments.net/reader030/viewer/2022021717/620c24fcf6368019960f25ea/html5/thumbnails/14.jpg)
• Balasaraswati and Ragini Devi revived this dance form.
• There is a predominance of Shringaara ras.
• Solo elements in Kuchipudi are:
Manduk shabdam – Tells the story of a frog.
Tarangam – The dancer performs with his/ her feet on the edges of a brass plate and balancing a pot of water on the head or a set of diyas.
Jala Chitra Nrityam – In this item, the dancer draws pictures on the floor with his or her toes while dancing.
• Famous proponents: Radha Reddy and Raja Reddy, Yamini Krishnamurthy, Indrani Rehman etc.
![Page 15: 1.8 - Dance](https://reader030.fdocuments.net/reader030/viewer/2022021717/620c24fcf6368019960f25ea/html5/thumbnails/15.jpg)
Kathakali
• Ramanattam and Krishnattam – 2 separate dance forms - evolved and became the source of Kathakali .
• Under the patronage of feudal lords
• Narrating episodes from Ramayana and Mahabharata
• With the breakdown of the feudal set up, Kathakali started to decline as an art form.
![Page 16: 1.8 - Dance](https://reader030.fdocuments.net/reader030/viewer/2022021717/620c24fcf6368019960f25ea/html5/thumbnails/16.jpg)
• It was revived in the 1930s by the famous Malayali poet V. N. Menon under the patronage of Mukunda Raja.
• Kathakali is essentially an all-male troupe performance.
• There is minimal use of prop in the Kathakali recital.
V N Menon
![Page 17: 1.8 - Dance](https://reader030.fdocuments.net/reader030/viewer/2022021717/620c24fcf6368019960f25ea/html5/thumbnails/17.jpg)
Elaborate facial make up along with a head gear is used.
• Green color – richness and decency
• Red color – dominance
• Black color – for evil
• Yellow color – for women
![Page 18: 1.8 - Dance](https://reader030.fdocuments.net/reader030/viewer/2022021717/620c24fcf6368019960f25ea/html5/thumbnails/18.jpg)
• The language used for Kathakali songs is Manipravalam, i.e., a mixture of Malayalam and Sanskrit.
• Kathakali is remarkable in the representation of the rasas through movements of eye and eye brows.
• Kathakali symbolizes the element of sky or ether.
• Famous proponents:
Guru Kunchu Kurup, Gopi Nath, Kottakal Sivaraman, Rita Ganguly etc.
![Page 19: 1.8 - Dance](https://reader030.fdocuments.net/reader030/viewer/2022021717/620c24fcf6368019960f25ea/html5/thumbnails/19.jpg)
![Page 20: 1.8 - Dance](https://reader030.fdocuments.net/reader030/viewer/2022021717/620c24fcf6368019960f25ea/html5/thumbnails/20.jpg)
Mohiniattam
• Mohiniattam or the Dance of an Enchantress („ Mohini‟ meaning beautiful woman and „attam‟ means dance), is essentially a solo dance performance by women.
• It was further developed by Vadivelu in 19th century and gained prominence under the rulers of Travancore in the present state of Kerala.
• After it had fallen to obscurity, the famous Malayali poet V. N. Menon revived it along with Kalyani Amma.
![Page 21: 1.8 - Dance](https://reader030.fdocuments.net/reader030/viewer/2022021717/620c24fcf6368019960f25ea/html5/thumbnails/21.jpg)
• Generally narrates the story of the feminine dance of Vishnu.
• The Lasya aspect (beauty, grace) of dance is dominant in a Mohiniattam recital.
• The element of air is symbolised through a Mohiniattam performance.
• Mohiniattam combines the grace and elegance of Bharatnatyam with the vigour of Kathakali.
• Famous proponents: Sunanda Nair, Kalamandalam Kshemavathy, Madhuri Amma, Jayaprabha Menon Sunanda Nair
![Page 22: 1.8 - Dance](https://reader030.fdocuments.net/reader030/viewer/2022021717/620c24fcf6368019960f25ea/html5/thumbnails/22.jpg)
Odissi
• The caves of Udayagiri-Khandagiri provide some of the earliest examples of Odissi dance.
• The dance form derives its name from the „Odra nritya‟ mentioned in Natya Shastra.
• It was primarily practised by the „maharis‟ and patronised by the Jain king Kharvela.
• Odissi gained international acclaim due to the efforts of Charles Fabri and Indrani Rehman.
Indrani Rahman
![Page 23: 1.8 - Dance](https://reader030.fdocuments.net/reader030/viewer/2022021717/620c24fcf6368019960f25ea/html5/thumbnails/23.jpg)
• With the advent of Vaishnavism in the region, the Mahari system became defunct.
• Instead, young boys were recruited and dressed as females to continue the art form. They came to be known as „Gotipuas‟.
• Famous proponents: Guru Pankaj Charan Das, Guru Kelu Charan Mohapatra, Sonal Mansingh, Sharon Lowen (USA), Myrla Barvie (Argentina).
![Page 24: 1.8 - Dance](https://reader030.fdocuments.net/reader030/viewer/2022021717/620c24fcf6368019960f25ea/html5/thumbnails/24.jpg)
• The tribhanga posture, i.e. the three-bended form of the body is innate to Odissi dance form.
• The dancers create intricate geometrical shapes and patterns with her body.
• The dance form symbolises the element of water.
• Odissi dance is accompanied by Hindustani classical music.
![Page 25: 1.8 - Dance](https://reader030.fdocuments.net/reader030/viewer/2022021717/620c24fcf6368019960f25ea/html5/thumbnails/25.jpg)
Manipuri
• Manipuri dance form finds its mythological origin to the celestial dance of Shiva and Parvati in the valleys of Manipur.
• The dance gained prominence with the advent of Vaishnavism in 15th century.
• Then, Krishna became the central theme of this dance form. It is performed generally by females.
• Rabindranth Tagore brought back the dance form into limelight when he introduced it in Santiniketan.
![Page 26: 1.8 - Dance](https://reader030.fdocuments.net/reader030/viewer/2022021717/620c24fcf6368019960f25ea/html5/thumbnails/26.jpg)
Manipuri
• Dress-
Female- dress called patloi and lehenga called kumin. Transparent odni is worn on the head and covers the face.
Male- usually saffron dress depicting Lord Krishna
• Dancers do not wear ankle bells in this dance form
![Page 27: 1.8 - Dance](https://reader030.fdocuments.net/reader030/viewer/2022021717/620c24fcf6368019960f25ea/html5/thumbnails/27.jpg)
• Manipuri dance is unique in its emphasis on devotion and not sensuality.
• The faces are covered with a thin veil and facial expression is of lesser importance, hand gestures and gentle movement of feet are important.
• Naga Bandha mudra, in which the body is connected through curves in the shape of „8‟ is an important posture in Manipuri dance form.
• Famous proponents:
Jhaveri sisters-Nayana, Suverna, Ranjana and Darshana
Guru Bipin Singh
![Page 28: 1.8 - Dance](https://reader030.fdocuments.net/reader030/viewer/2022021717/620c24fcf6368019960f25ea/html5/thumbnails/28.jpg)
Kathak
• Kathak is the traditional dance form of Uttar Pradesh.
• Traces its origins from the Ras Leela of Brajbhoomi.
• Name is derived from Katha (story) and Katthaka (who tells stories).
• Used to a be temple dance but during the Mughal era,it branched off into court dance.
• It was also influenced by Persian costumes and styles of dancing.
![Page 29: 1.8 - Dance](https://reader030.fdocuments.net/reader030/viewer/2022021717/620c24fcf6368019960f25ea/html5/thumbnails/29.jpg)
• The classical style of Kathak was revived by Lady Leela Sokhey in the 20th century.
• Jugalbandi is the main attraction of kathak recital which shows a competitive play between the dancer and the table player.
Spontanity
Freedom
Room for innovation and improvisation
![Page 30: 1.8 - Dance](https://reader030.fdocuments.net/reader030/viewer/2022021717/620c24fcf6368019960f25ea/html5/thumbnails/30.jpg)
• Based on bhaav,raga and taal
• Emphasis on footwork
• Fundamentally-solo performance
• Theme- Radha krishna
• Dance progresses from slow to fast pieces.
• Has Footwork & spins and includes abhinaya-expression
• Performed on Hindustani music provided by Tabla, Sitar, Santoor
• Costume includes-Ghungroos or bells on the ankles
• Female- lehenga choli or chudidaar kameez
• Male- bare chest and dhoti or kurta churidar
![Page 31: 1.8 - Dance](https://reader030.fdocuments.net/reader030/viewer/2022021717/620c24fcf6368019960f25ea/html5/thumbnails/31.jpg)
• An important feature of Kathak is the development of different gharanas as it is based on Hindustani style of music:
Lucknow: Reached its peak under the reign of Nawab Wajid Ali Khan. It puts more importance on expression and grace.
Jaipur: Initiated by Bhanuji, it emphasised fluency, speed and long rhythmic patterns.
Raigarh: It developed under the patronage of Raja Chakradhar Singh. It is unique in its emphasis on percussion music.
Banaras: It developed under Janakiprasad. It sees a greater use of floorwork and lays special emphasis on symmetry.
![Page 32: 1.8 - Dance](https://reader030.fdocuments.net/reader030/viewer/2022021717/620c24fcf6368019960f25ea/html5/thumbnails/32.jpg)
Famous proponents:
Birju Maharaj
Lacchu Maharaj
Sitara Devi
Damyanti Joshi
![Page 33: 1.8 - Dance](https://reader030.fdocuments.net/reader030/viewer/2022021717/620c24fcf6368019960f25ea/html5/thumbnails/33.jpg)
Sattriya
• Sattriya dance in modern-form was introduced by the Vaishnava saint Shankaradeva in the 15th century A.D in Assam.
• The art form derives its name from the Vaishnava monasteries known as „Sattras‟, where it was primarily practised.
![Page 34: 1.8 - Dance](https://reader030.fdocuments.net/reader030/viewer/2022021717/620c24fcf6368019960f25ea/html5/thumbnails/34.jpg)
• It finds mention in the ancient text „Natya Shastra‟ of sage Bharat Muni. It is inspired from Bhakti Movement.
• The dance is generally performed in group by male monks known as „Bhokots‟.
• In the modern times, Sattriya dance has evolved into two separate streams – the Gayan-Bhayanar Nach and the Kharmanar Nach.
![Page 35: 1.8 - Dance](https://reader030.fdocuments.net/reader030/viewer/2022021717/620c24fcf6368019960f25ea/html5/thumbnails/35.jpg)
FOLK DANCES OF INDIA
![Page 36: 1.8 - Dance](https://reader030.fdocuments.net/reader030/viewer/2022021717/620c24fcf6368019960f25ea/html5/thumbnails/36.jpg)
Chhau
• The word Chhau originates from „Chhaya‟ meaning shadow. It is a form of mask dance that uses vigourous martial movements to narrate mythological stories.
• There are three main styles of Chhau dance –
Saraikella Chhau in Jharkhand
Mayurbhanj Chhau in Odisha
Purulia Chhau in West Bengal
• Of these, Mayurbhanj Chhau artists don‟t wear masks.
![Page 37: 1.8 - Dance](https://reader030.fdocuments.net/reader030/viewer/2022021717/620c24fcf6368019960f25ea/html5/thumbnails/37.jpg)
• In 2010, UNESCO inscribed Chhau in the
Representative List of Intangible Cultural Heritage of Humanity.
Purulia Chhau
![Page 38: 1.8 - Dance](https://reader030.fdocuments.net/reader030/viewer/2022021717/620c24fcf6368019960f25ea/html5/thumbnails/38.jpg)
Dandiya Raas is an energetic, lively dance form in which polished sticks or dandiyas are used.
Garba is a popular folk dance of Gujarat, held at the time of Navaratra.
• Circular dance in rhythm
• Performed by women mainly
Garba Dance
![Page 39: 1.8 - Dance](https://reader030.fdocuments.net/reader030/viewer/2022021717/620c24fcf6368019960f25ea/html5/thumbnails/39.jpg)
• Tarangamel is the folk dance of Goa that celebrates the youthfulness of the region during Dusherra and Holi.
• Ghoomar –
It is a traditional folk
dance performed by the
women
of Rajasthan.
![Page 40: 1.8 - Dance](https://reader030.fdocuments.net/reader030/viewer/2022021717/620c24fcf6368019960f25ea/html5/thumbnails/40.jpg)
• Kalbelia
It is a sensuous folk dance performed by the women of the Kalbelia community of Rajasthan.
„Been‟ (wind instrument played by snake charmers) is the popular musical instrument of this dance form.
• The UNESCO has inscribed Kalbelia folk songs and dances in the Representative List of the Intangible Cultural Heritage of Humanity in 2011.
Kalbelia Dance
![Page 41: 1.8 - Dance](https://reader030.fdocuments.net/reader030/viewer/2022021717/620c24fcf6368019960f25ea/html5/thumbnails/41.jpg)
• Charba
It is the popular folk dance of Himachal Pradesh, performed during the Dussehra festivities.
• Bhangra/ Giddha
Bhangra is the highly energetic folk dance of Punjab. Giddha is the female counterpart of the male Bhangra.
![Page 42: 1.8 - Dance](https://reader030.fdocuments.net/reader030/viewer/2022021717/620c24fcf6368019960f25ea/html5/thumbnails/42.jpg)
• Braj Raslila is a popular folk dance of the region of Uttar Pradesh.
• Dadra is the semi-classical form of dance popular in Uttar Pradesh, accompanied by the music of the same style.
• Jawara is the harvest dance popular in the Bundelkhand region of Madhya Pradesh.
Jawara Dance form
![Page 43: 1.8 - Dance](https://reader030.fdocuments.net/reader030/viewer/2022021717/620c24fcf6368019960f25ea/html5/thumbnails/43.jpg)
• Matki is performed by the women of Malwa region on the occasions of wedding and other festivities.
• Gaur Maria is an important ritualistic dance form of the Bison Horn Maria tribes who live in the Bastar region of Chhattisgarh.
• Alkap is a rural dance-drama performance prevalent in the Rajmahal hills of Jharkhand and Rajshahi, Murshidabad and Malda regions of West Bengal.
• Biraha dance along with its variant, Bidesia, is a popular form of entertainment in rural Bihar.Pain of separation
![Page 44: 1.8 - Dance](https://reader030.fdocuments.net/reader030/viewer/2022021717/620c24fcf6368019960f25ea/html5/thumbnails/44.jpg)
• Paika is a martial folk dance performed in the southern parts of Odisha, Jharkhand and Bihar. Paika is a form of long spear.
• Jat-Jatin is popular in the northern parts of Bihar, especially in the regions of Mithila.
Paika Dance
![Page 45: 1.8 - Dance](https://reader030.fdocuments.net/reader030/viewer/2022021717/620c24fcf6368019960f25ea/html5/thumbnails/45.jpg)
• Jhumar is a popular harvest dance, performed by the tribal people of Jharkhand and Odisha.
• The Danda Nata or the Danda Jatra is one of the oldest folk arts of India. Mainly popular in Odisha, it is a unique blend of dance, drama and music.
![Page 46: 1.8 - Dance](https://reader030.fdocuments.net/reader030/viewer/2022021717/620c24fcf6368019960f25ea/html5/thumbnails/46.jpg)
• Bihu is the popular dance of Assam, performed in group by both men and women.
Bihu Dance
![Page 47: 1.8 - Dance](https://reader030.fdocuments.net/reader030/viewer/2022021717/620c24fcf6368019960f25ea/html5/thumbnails/47.jpg)
• The Rangma is the war dance of the Nagas.
• The Singhi Chham is a popular mask dance of Sikkim.
• Kummi is a popular folk dance in the region of Tamil Nadu and Kerala. The dance is performed by the women, standing in a circular formation. NO MUSIC
![Page 48: 1.8 - Dance](https://reader030.fdocuments.net/reader030/viewer/2022021717/620c24fcf6368019960f25ea/html5/thumbnails/48.jpg)
• Mayilattam is a folk dance of Kerala and Tamil Nadu in which young girls are dressed as peacocks, with colourful headgears, beaks and feathers.
It is also known as peacock dance.
Mayilattam
![Page 49: 1.8 - Dance](https://reader030.fdocuments.net/reader030/viewer/2022021717/620c24fcf6368019960f25ea/html5/thumbnails/49.jpg)
• Burrakatha or Jangam Katha, is a form of dance narration from Andhra Pradesh, in which a single performer narrates stories from the puranas.
• Butta Bommalu literally means basket toys and is a popular dance form of the West Godavari district of Andhra Pradesh.
Burrakatha
![Page 50: 1.8 - Dance](https://reader030.fdocuments.net/reader030/viewer/2022021717/620c24fcf6368019960f25ea/html5/thumbnails/50.jpg)
• Kaikottikali is a popular temple dance of Kerala. It is performed by both men and women at the time of Onam.
• Padayani is a martial dance performed in the temples of southern Kerala. Padayani literally means rows of infantry
![Page 51: 1.8 - Dance](https://reader030.fdocuments.net/reader030/viewer/2022021717/620c24fcf6368019960f25ea/html5/thumbnails/51.jpg)
• Bhootha Aradhane or devil worship is a popular dance form of Karnataka.
• Pata kunitha
It is the dance form popular in the Mysore region. It is primarily a religious dance performed by men who use long bamboo poles decorated with colourful ribbons, known as pata.
Bhootha Aradhane
![Page 52: 1.8 - Dance](https://reader030.fdocuments.net/reader030/viewer/2022021717/620c24fcf6368019960f25ea/html5/thumbnails/52.jpg)
Martial dances
• Thang Ta
is the exclusive martial dance form of
Manipur.
„‟Huyen Langlon‟‟
Thang means sword and Ta means spear.
• Kolkali Parichakali
It is a popular martial dance in the areas of
southern Kerala and Lakshwadeep.
Kol means stick and Paricha means shield.
![Page 53: 1.8 - Dance](https://reader030.fdocuments.net/reader030/viewer/2022021717/620c24fcf6368019960f25ea/html5/thumbnails/53.jpg)
• Gatka from Punjab
• Kalaripayattu -from kerala
![Page 54: 1.8 - Dance](https://reader030.fdocuments.net/reader030/viewer/2022021717/620c24fcf6368019960f25ea/html5/thumbnails/54.jpg)
• Silambam
Tamil Nadu.
Kuttu varisai - it is the unarmed kind of martial art, related to Silambam
• Musti Yuddha
It is unarmed martial art from Varanasi
• Lathi
is an ancient armed martial art of India.
It also refers one of the world‟s oldest weapons used in martial arts.
Lathi still remains a popular sport in Indian villages.
![Page 55: 1.8 - Dance](https://reader030.fdocuments.net/reader030/viewer/2022021717/620c24fcf6368019960f25ea/html5/thumbnails/55.jpg)
• Mardani Khel
is an armed method of martial art created by the Maratha. This traditional martial art of Maharashtra is practiced in kolhapur.
• Pari-khandaa
style of sword and shield fighting from Bihar. This art is created by the rajputs. Pari-khanda steps and techniques are also used in Chau dance.
![Page 56: 1.8 - Dance](https://reader030.fdocuments.net/reader030/viewer/2022021717/620c24fcf6368019960f25ea/html5/thumbnails/56.jpg)
Thank You