Karnataka > Dance in Karnataka
As dance is a visual art, the visual impression of this dynamic art are lost on the sands of time. The tradition of dances current in Karnataka can be broadly divided as Janapada and Shista, the former being localised in certain area only whereas the latter has spread to other parts outside the state. Very few art lovers of yore have left any written literature on the then existing dance. The Tamil text 'Silapadhikaram' refers to a dance of the Kannadigas witnessed by the Chera king Sengoottavan. An inscription in Pattadakal reveals that Devadasis were engaged in 'Nritya seva' in temples. Ganga rulers like Durvineeta and Narasimhadeva Satyavakya are described as well versed in dancing and singing. During the Rashtrakuta and the later Chalukya periods, the courtesans had duties assigned to them in temples and they were accomplished dancers.Many inscriptions have praised Shantaladevi, the queen of Hoysala Vishnuvardhana as being an expert in dance. Bhandaru Lakshminarayana the Natyacharya in Krishnadevaraya's court was called Abhinava Bharata. Dancers and artistes were encouraged to perform during the annual Dasara celebrations by the Vijayanagar rulers. The Mysore court also encouraged traditional dance, following the footsteps of the Vijayanagar rulers.
'Manasollasa' of Someshwara III, Pundarika Vitthala's 'Narthana Niranay', 'Lasya Ranjana' of Simha Bhupala, 'Rasikajana manollasini' 'Sara Sangraha' and 'Bharata Shastra' written by Venkatamudarsani, are works devoted to the arts of music and dancing.
Perhaps, the greatest phenomenon that contributed to the preservation and flourshing of dance in the state was the practice of Devadasis offering service in temples. By the end of the 19th century, in Mulbagal, Mugur, T. Narsipur and Poovalavadi near Chintamani, there were as many as 200 professional dancing women living with a number of Nattuvaras (or dance masters). There were many Brahmin scholars well versed in Sanskrit, Baratanatya and Abhinaya who taught the Devadasis the intricate art of Abhinaya. In the erstwhile Mysore state, it is heartening to note that Bharatanatya developed its own style, due to their efforts. There developed a repertory of Bharatanatya in which Mangalam, Stuti, Alaripu, Jatiswara, Vemam, Pada and Tillana came in a sequence. During that period Kavisvar Giriyappa, Kashi Guru, Amritappa, Appaya, Dasappa, Kittappa and Jetti Tayamma are some reputed teachers, while, Venkatalakshamma, Puttadevamma, Ramamani and Mugur Tripurasundaramma were dancers of repute.
Bangalore came to recognised as a very important centre for the teaching of Baharatanatya Between 1910-1930, the art and the artistes had a decline due to breakdown of social values and also due to the influence of Western eudcation which eclipsed the traditional and indigeneous art. After 1930, people like E. Krishna Iyer, Rukmini Arundale, Ramagopal, U.S. Krishna Rao and his wife Chandrabhaga Devi popularised this art in the 1940s.
During the wake of this renaissance in the 40s, many dance teachers gained ground in Karnataka. In the 50s the state of affairs changed with the foundation of the Central and State Academies of Dance, Drama and Music. These academies extended grants and aid to good teachers and institutions. Gradually, in the erstwhile Mysore state and later in Karnataka, the dissemination of the knowledge of dance art improved. Later, the then government of Mysore started the government examination in Junior, Senior and Proficiency grades in Baharatanatyam. The whole horizon of Bharatanatyam also changed after the reorganisation of the State. As the 1970s dawned, Karnataka, especially Bangalore and Mysore could boast of many dance teachers and institutions capable of producing proficient dancers. The Bangalore University started the department of dance, drama and music. The future of Bharatanatya therefore promises to be very encouraging in Kamataka.
Many Institutions run by veterans of the art, are imparting training in Bharatanatya and other styles. In Bangalore city, apart from the Mahamaya Nritya Peetha of Dr. U.S. Krishna Rao, the others like Keshava Nritya Shala of H.R. Keshavamurthy, Menaka Nritya Shala of T.S. Bhat, Bharata Natya Kalashale of Manikyam, Bharateeya Vidya Bhavana Nirtya Kendra, Ganesha Nritya Shale of Lalitha Dorai, Saraswati Nritya Shale of Shekhar, Venkateshwara Natya Mandira of Radha Sridhar, Meenakshi Sundaram Pillai School of Leela Ramanathan, Chittaranjan Kalakshetra of C. Radhakrishna, M.V. School of Bharatnatyam', Sri Venkateshwara Natya Mandira and Gana Nritya Kalashale of V.S. Lokaiah and the dance schools run by Maya Rao, Narmada, Prathiba Prahalad and Vani Ganpathy are among the noted ones. Many other schools in all different centres of the state have gained reputation.
A dance village named Nrityagram was established in Hesraghatta on the outskirts of Bangalore city by the famous Odissi exponent, the late Protima Gauri. She had arranged for the training of students in all disciplines of traditional Indian dance under one roof in her Nrityagrama. The Institute continues to promote dance even after the death of the founder.
Even though Bharatanatyam scene is overwhelmingly dominated by female artistes, some men have stormed into this female bastion and have gained great reputation as worthy challengers. Some of them are, K.R.S. Prasanna, Dr. A.R. Sridhar, Ramu, Arun, B.K. Shyamprakash and Rajendra.
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